SSurltnGton Jfine arts Club.
EXHIBITION
of .
THE ART OF
ANCIENT EGYPT.
1895.
. '., ' l\ - ' LONDON: . \'\ i'.
PRINTED FOR THE BURLINGTON FINE ARTS CLUB
From the Library
Frank Simpson
JSurUngton Jftne Hrts Club.
EXHIBITION
OF
THE ART OF
ANCIENT EGYPT.
i895.
LONDON:
PRINTED FOR THE BURLINGTON FINE ARTS CLUB
1895-
EXHIBITION COMMITTEE.
Professor Dr. Adolf Erman.
Rev. William MacGregor.
Professor Gaston Maspero.
Professor W. M. Flinders Petrie.
F. G. Hilton Price, Esq.
Henry Wallis, Esq.
LIST OF CONTRIBUTORS.
Royal Museum, Berlin.
South Kensington Museum.
University College, London.
Liverpool Museum.
Butler Museum, Harrow.
Ralph Bankes, Esq.
Miss Brocklehurst.
*Charles Butler, Esq.
*Somers Clarke, Esq.
*Alfred Cock, Esq., Q.C.
Colonel John Evans.
*Sir John Evans, K.C.B., F.R.S.
Dr. D. Fouquet.
*SirA.Wollaston Franks, K.C.B.,F.R.S.,P.S.A.
Mrs. Goodison.
General Sir Francis Grenfell, K.C.B.
J. P. Heseltine, Esq.
The Baroness Hirsch.
*H. Martvn Kennard, Esq.
*S. E. Kennedy, Esq.
Sir George Curtis Lampson, Bart.
Lady Lampson.
*Rev. William MacGregor.
*C. Brinsley Marlay, Esq.
•Captain W. J. Myers.
Walter L. Nash, Esq.
Professor W. M. Flinders Petrie.
*F. G. Hilton Price, Esq.
\V. Rome, Esq., F.S.A.
The Earl of Sheffield.
* [. Travers Smith, Esq.
R. Phene Spiers, Esq.
Count Tyszkiewicz.
*Henry Wallis, Esq.
E. Towry White, Esq.
*Rev. Herbert Wilson.
* The Contributors whose names are thus marked are Members of the Club.
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INTRODUCTION.
jjHE present Exhibition is the first attempt to bring
together a loan collection of examples of the art of
Ancient Egypt. Such an undertaking has, indeed, until
now been scarcely possible. The difficulties of collection in this
case are exceptionally great. The opportunities of acquisition are
rare and uncertain ; also, since the objects lie without the range
of the departments of art hitherto claiming the attention of the
connoisseur, a certain special knowledge is required to judge their
artistic importance, and even to determine their authenticity. But
the Burlington Club— which, in the thirty years of its existence,
has displayed in its Gallery so many phases of the arts of various
races and diverse periods— has considered that it may, at length,
essay the exposition of the art of the race that founded the most
ancient civilisation of which we possess historical record.
Mere antiquity, although it must always claim respect, does
not necessarily confer distinction. The civilisation which first
arose in the basin of the Tigris and Euphrates dates, perhaps,
from a scarcely less remote period than that established in the
Nile Valley. Yet the relative intrinsic value of their respective
arts, as far as we are acquainted with them, admits of no
comparison. That of the former was grim, sombre, ponderous
and inert. It reflected the ideas of the race whose gods were
malignant agencies. If required to typify the art of Chalctea in a
single example, one might point to the demoniac form of the
Louvre bronze, known as the South West Wind. A glance at
VI.
the admirable illustrations to Professor Maspero's recent volume,
Lcs Origines, Egypte et Chaldfc, at once shows the character of
the arts of the two races, and the inferiority of that of Chaldeea, and,
moreover, the one example in the portion of the volume devoted
to Chaldaea displaying fine artistic treatment, the bas-relief of
Naramsin, suggests the art of Egypt, and may, as remarked by
Professor Maspero, have been executed by a sculptor of that
country.
The impressions received from the examination of Egyptian
art are those of brightness and vivacity. In their forms the artists
aimed at elegance; they were skilful in the combination of pure
and brilliant schemes of colour. In manipulative dexterity they
reached the highest excellence. Their delicate execution in the
smallest objects is nothing less than marvellous, and, while retain-
ing breadth of treatment, they could lavish an equal perfection of
execution on works of monumental dimensions. They practised
the judicious restraint which is an essential element of the finest
art. Above all, their art was very human. They show us the
King in adoration before the gods, in his war chariot overthrowing
the enemy, seated in his chair of state borne on men's shoulders
in a triumphal procession, or in the seclusion of the harem, playing
at draughts with a favourite Queen. We see the great nobles
engaged in the direction of their territorial estates or in the diver-
sions of hunting and fishing. But the pictures touch us most nearly in
their frank representation of popular life. These faithfully pourtray
the husbandman at his labours, the artizan in his workshop, the
scenes of the market place and the Nile navigation, banquets and
funerals. Nothing was too high or too low for delineation by the
dexterous and industrious chisels and pencils of the Egyptian
sculptors and painters. Their sympathy with the joys and
sorrows, the humour and pathos of humanity, was boundless.
The papyri have not revealed to us the existence of either an
vii.
Egyptian Shakspeare or Homer, it is unlikely they ever will ;
Egypt, however, may fairly claim that neither the Greek nor the
Englishman looked on life with clearer or kindlier eyes than those
of her native artists, nor did they represent its varied phases with
more truth and fidelity.
The materials for a systematic history of Egyptain art, which
may be considered as approaching finality, are not yet forthcoming.
Happily, year by year they are being slowly but surely amassed.
None of the present generation can expect to trace the stream from
its source to its termination. The task of exploration, however,
affords keener enjoyment than the passage when the course is clear,
and certainly the discoveries of late years have been such as must
stir the coldest imagination. Up to the middle of the present
century it was generally believed that Egyptian art, through its long
duration of many centuries, remained stationary, that the artists
continued repeating the same forms. This notion was derived from
the writings of the Greeks and Romans, probably echoing what they
had heard from the priests and learned men of Egypt of their own
day. Plato states: — " And you will find that their " (the Egyptian)
" works of art are painted or moulded in the same forms that they
had ten thousand years ago — this is literally true and no
exaggeration — their ancient paintings and sculptures are not a
whit better or worse than the work of to-day, but are made
with the same skill." — (Laws, 656, D.E.). The training of the
scholar and of the man of letters has not hitherto included the
education of the eye, one is not, therefore, surprised that Plato,
although it is probable he made a lengthened stay in Egypt, saw no
diversity in the work of various periods on the monuments he had
visited. At least, however, he might have been expected to pause
before asserting that the art of Egypt reached back ten thousand
years, and it seems incredible that he could suppose that any art
could possibly remain unchanged during even a hundredth part of
viii.
that period of time. As soon as the excavations of Belzoni,
Wilkinson, Lepsius, Marriette and others, had uncovered temples
and brought to light the treasures of the tombs, the eyes of trained
archaeologists at once saw that the art revealed belonged to various
stages of growth.
It may be briefly stated that the classification, now generally
accepted, divides Egyptian art into that of the Ancient Empire,
the Middle Empire, the New Empire, the Saiitic, the
Ptolemaic and Roman periods. The art of the Ancient
Empire in sculpture and painting (all reference to architecture
being here naturally omitted) is distinguished by its powerful
individualistic representation. In some, instances, as in the diorite
statue of Khefren at Ghizeh, a monumental dignity of style is
reached, found only in the noblest examples of the sculptor's art
of any school or period. The well-known Sheik-el-beled, a sturdy,
genial rustic, is a type only to be created by genius of the first order.
When, after his long sleep, Professor Maspero again introduced him
to the upper world, he at once took rank with the Immortals, with
Falstaff, and Sancho, and Pickwick. Another type, this time of the
shrewd, keen man of business, is the Scribe of the Louvre, the entire
statue is admirable for its sculpturesque qualities. Even when the
artist is of the second order, as in the seated statues of Rahotep and
Nefert (the Ghizeh Museum), a commonplace looking individual
and his somewhat insipid spouse, his rendering of the life-like
character is almost startling. Similar qualities are found in
the pictorial art, as may be seen in the celebrated picture of
"Geese" from Medum, now at Ghizeh. Of this work the present
Exhibition contains an excellent copy (No. 12) by Mrs. Goodison.
Fragments from the same wall paintings (Nos. 15 and 20),
discovered by Professor Flinders Petrie, are contributed by South
Kensington Museum. Few objects of the domestic art of the Ancient
Empire have as yet been identified. Their number must necessarily
ix.
be extremely limited. The few vases in stone here exhibited are
characterised by a severe simplicity of form and careful execution.
The flint ink-slab in fawn-coloured chert, contributed by Professor
Petrie (Case D, No. 31), is an example of exquisite delicacy of
manipulation. Workmanship of this quality offers a foretaste of
what is found in the art of the Middle Empire. Taking the sculpture
of that period, a marked advancement in the knowledge of the human
form is perceptible. One naturally first looks at the head of a
statue, and, fortunately, the present Exhibition contains a masterpiece
in the head of a King of the Xllth Dynasty (Case D, No. 16),
contributed by General Sir Francis Grenfell, a work which would
add lustre to any museum, and wherein is concentrated all the skill
and refinement of the art of the epoch. In the statues the
anatomical structure of the figure is well understood ; the delicacy
of modelling in difficult passages, as in the joints, shows consummate
mastery. Not even Greek sculpture betrays a finer feeling for
purity of line. It is excellence of this nature which distinguishes
the wooden statue of Hor-ra-fou-ab (Ghizeh Museum), discovered
last year at Dashour by M. de Morgan, and which has evoked
the spontaneous enthusiasm of the artistic world. The examples
of glazed ceramic art of this period indicate a thorough mastery
of technique. The life and movement in Mr. Hilton Price's
" Hippopotamus" (Case N, No. 18) are delightful. In this instance
the colour has suffered. Another example, however, in the
same Case, No. 1, has retained the blue glaze in its pristine
purity. The brilliance of the colour and the evenness of the
glaze, together with the sureness of line in the ornamentation,
all point to the fact that the art was in its prime. It will be
observed that water plants are painted on the animals, the intention
being to suggest that the beasts were in the water. A vase stand in
the same Case, No. 95, is another instance of the masterly work
of this period. In painting, it is sufficient to point to the mural
X.
decoration of Beni Hassan, although only the work of a provincial
school, it shows that, while the artists of the Middle Empire were
attaining greater facility of execution, they were also enlarging
their observation of nature.
The New Empire opened out a field of increased activity for
Egypt in every direction. It was especially an era of foreign
conquest, when the boundaries of the Empire were pushed forward on
all sides. The Egyptian found out that, although the Nile Valley-
must still, for him, remain the centre of the earth, its circumference
was larger than his forefathers had imagined. With his acquaintance
with other lands and their products, fresh tastes were acquired.
Life became more complex. The artists were not slow to perceive
the change; their art, while remaining distinctly national, still
reflected the newly awakened cosmopolitan ideas of the country. It
is rather the fashion among the Egyptologists of to-day to depreciate
the art of the New Empire. Fashion is proverbially fickle, and even
in the most exalted spheres she retains the same amiable foible.
Fifty years ago Gardner Wilkinson spoke of the art of the
XlXth Dynasty as that of the noblest epoch of Egyptian art.
Perhaps the critics of the next century, following the example of the
Egyptians of the New Empire, will proclaim the art of the Middle
Empire to be the type of all that is excellent. But the more
impartial criticism declines playing Providence in scrupulously
apportioning and neatly ticketing the relative merits of the various
phases of art; it desires, rather, to discover the excellencies of any
phase containing within itself the elements of real greatness.
Judging from the remains of the monuments of the New
Empire, as the tomb-temple of Queen Hatshepsu (Der-el-Bahari),
now being excavated by the Egypt Exploration Fund, under the
superintendence of Professor Navile ; the temples at Abydos, Thebes,
Luxor, Karnac, and other places, the art must have been of splendid
magnificence ; impressive in effect, rich in sculptured forms, and
xi.
brilliant in its wealth of colour, such as our Northern imaginations
can but faintly conceive. The experience acquired in Europe offers
no data to call up before the mind's eye these stupendous creations,
as they stood in the reigns of the great XVIIIth and XlXth Dynasty
Kings. The tendency of all official art, unless restrained by the
strong will of a ruler possessing really fine taste, is to lapse into
conventionality. And, doubtless, the monumental-work executed at
the end of the long reign of Ramses II. shows signs of slackening
energy. Possibly the national fibre was relaxing. A jaded taste
craved continual fresh excitement. The more extravagant the
conceit, the greater its popularity, as in our own day we witness the
rage for the eccentricities of Japanese curios. If, however, there
were seasons when the hands of the artiste moved listlessly, they
had not yet lost their cunning. Our Exhibition contains New
Empire work of every kind of ability of sterling excellence. It
must, indeed, be a fastidious taste that can remain cold before
design so elegant, colour so lovely, and manipulation so perfect as
that lavished on Captain Myers's two cups (Case N, Nos. 8 and 12)
of the time of Ramses III., or the Rev. W. MacGregor's open-
work bottle, in glass paste, in Case D ; but to particularise instances,
would be to cite a considerale portion of the Catalogue.
The art of the Saiitic period was that of a Renaissance.
Admiration of the ancient art prompted the artists to attempt the
imitation of its forms and style ; the revival of its spirit was a more
arduous undertaking — indeed, an impossible one. The eye as
readily detects the difference between a cinque cento gem or bronze
and a veritable antique, or a picture by Overbeck and one by
Perugino, as it does between a work of the time of Psametik and its
prototype of the earlier dynasties. Yet we sometimes find in Saiitic
work a strength and insight denoting its author to be one of the
elect. Form was never rendered with more subtle execution or
character seized with firmer grip than in the green basalt head of the
xii.
Berlin Museum. (See the cast in bronze, No. 3, over the mantel-
piece) The small black basalt head in the Louvre is a vigorous
example of the art of this period. The ceramic art, with its partiality
for pale green tints, is singularly delicate and refined. As the
Saiitic period is marked by the influence of the earlier native
schools, that of the Ptolemaic and Roman periods is distinguished
by an evident Greek influence. The capital of the Ptolemaics was
probably the wealthiest city of its time, and would consequently
attract to its Court the most distinguished Greek artists. Alexandrian
art has hitherto, unfortunately, as little engrossed the attention of
Egyptologists as it has that of Hellenists ; now, however, with the
formation of a Municipal Museum at Alexandria it is to be hoped
that, at least, Greek archaeologists will no longer neglect an art so
historically important. With regard to the classes of art here
exhibited, their study is full of instruction, both to the practician and
the archaeologist. In glass, metal work, textiles and pottery, the
artists still maintained their old manipulative dexterity. The plastic
arts employed in the temple decorations show facility of execution but
little originality of conception. The pictorial art is interesting from
its affording information respecting the technique of the Greek
painters. It is impossible to assert whether the heads here exhibited
(Nos. 2, 4, 6, 7, 8, 9, and 1 1) were painted by Greek or native artists.
They are the hasty work of an unpretending provincial craftsman,
painted for coffins that were to be buried in the desert sand.
Therefore, niceties of execution, or a polished style, must not be
expected. In some instances, however, as in a portrait at the
National Gallery and another at the Berlin Museum, the brush
work, while not exactly rivalling that of Rembrandt, is strongly
suggestive of clever, showy work of a modern exhibition. These
paintings, and the plaster heads in Case E, prove that, up to
its final extinction in ancient times, Egyptian art retained its
capacity for lifelike individualistic representation. The majority
xiii.
of these heads aim at little more than a conventional ideality,
yet now and again we come across one that must have been a
striking portrait — as in the instance of No. 5, which suggests
the art of the quattro cento Italian Renaissance.
Reference has been made to Greek influence on Egyptian
art. In the case of influence generally, Egypt has been the donor,
not the recipient. Phoenician art was a pale reflex of that of
Egypt, at times, however, betraying an Assyrian influence. The
so-called Mycenian art derived its motives, through Phoenicia, from
Egypt. Of the very few really artistic objects of this attribution,
as the inlaid dagger blades in the Athens Museum, similar in
style and technique to those discovered in the coffin of
Queen Ahhotpu, now in the Ghizeh Museum, there can be
scarcely any doubts of their Egyptian fabrication. It is not
the ideas of the embryotic civilization that dominate those of
the fully developed one. As to the Asiatic races, whose very
names are uncertain and the objects of their art unknown,
the possible influence of their arts — if they possessed any — is not
worth discussing. An Assyrian influence in certain forms is per-
ceptible; it was, however, merely surface action. Even the Greek
influence was intrinsically slight, and moreover it came at a period
when the ancient civilization of Egypt was approaching dissolution.
On the other hand, the influence of Egyptian art on that of the other
great civilizations of antiquity can be traced in all directions, and will
probably be still more apparent as our knowledge of that art becomes
wider and more accurate.
It will, doubtless, have been noted by the reader that, in
mentioning the usually accepted divisions of Egyptian history, no
dates were given. To the modern student undated history is
unsatisfactory and even irritating. But where, as in the present
instance, there is considerable diversity of opinion, an attempt at
anything like precision in this matter runs the risk of being misleading.
XIV.
Among Egyptologists Wilkinson fixes the date of the first Pharaoh,
Mena, at 2320 B.C., Bunsen at 3623, Lepsius at 3892, Lauth at 4157,
Brugsch at 4455, Mariette at 5004, Unger at 5613, Boeckh at 5702,
Professor Petrie at 4777. Professor Erman places the commence-
ment of the IVth Dynasty at not less than 2830 years before our
era. The calculations made by the authors are based on the lists of
the Turin papyrus, which is much mutilated, on that of Manetho,
which we only have at second hand, and on the stone tables of
Abydos, Karnac and Sakkarah. The question then arises as to the
value of these lists as historical documents, and, speaking with the
utmost diffidence, it appears to the present writer that if similar
evidence were offered to a student of English history he would be
compelled to reject it. The Manetho list dates from the Ptolemaic
era, the others from the XlXth Dynasty. They were evidently
compiled to please the Pharaohs and to glorify the Egyptian race.
But it must be remembered that the Egyptians had no era (they
counted from the coronation of the reigning monarch), there is
no indication that they had any taste for historical research, the
national vanity was excessive, they had no care for accuracy in
stating numbers, and, along with many gifts and some sterling
virtues, they were addicted to constant exaggeration of language.
Taking these facts into consideration one may fairly demand very
conclusive evidence before accepting these lists as authentic records
of successive kings. If, however, it be admitted that there were
contemporaneous dynasties reigning in various parts of Egypt, the
difficulty, of course, vanishes.
Taking Brugsch's chronology, he dates the commencement
of the IVth Dynasty at 3733 B.C., the Vlth at 3300, the Xllth
at 2466, the XVIIIth at 1700, the XlXth at 1400, the XXth at
T200, the XXVIth (Saiitic) at 666, this is the first regnal year
that has been actually proved. It follows, therefore, according
to Brugsch, that between the earliest discovered works of Egyptian
XV.
art — say the seated statues of Rahotep and Nefert — and the work
of the Saiitic period, there is a duration of time extending over
more than three thousand years. To the student of the history
of art, this appears to be making a very large demand indeed
on his credulity. He naturally recalls the length of time required
by other artistic races to develop the full maturity of their arts ;
remembering at the same time that the Egyptians were singularly
skilful in all manipulative processes and quick to seize impressions.
Greek art, from the period of the archaic statues of the
Acropolis of Athens to the time of Alexander, covered a space
of about two centuries, and another four centuries and a half
in its so-called Hellenistic phase follows to its extinction at the
time of Hadrian. Italian art, from its dawn with Cimabue to
its decadence under the Caraeci, extended over a space of four
centuries. It may be said that the Italian development was
assisted by its acquaintance with the art of antiquity. Niccola and
Giovanni, of Pisa, had seen and tried to imitate the sculpture of
the Roman sacopagi in their native city, but they cannot be said
to have advanced Italian sculpture of their period by so doing.
It is not improbable that Signorelli had a private hoard of
fragments of black figure or later Greek vases found in Etrurian
tombs, hence his nude figures at Orvieto; but here again the
influence was individual, and not materially affecting the measured
and steady growth of the national art. The space covered by
the rise and decline of other national arts will occur to the
reader, and he will then judge what number of centuries may
be fairly supposed to have elapsed between the production
of the aforesaid Rahotep and the statue of Ramses II. at
Turin (XlXth Dynasty), or that of the alabaster statue of
Ameneritis at Ghizeh (XXVth Dynasty). Or, taking the work
in our Exhibition, between the idyllic figure of the woman carrying
a box and leading a calf (No. 58, Case F) of the Vlth Dynasty,
xvi.
and the fine Saiitic bronze of Neith, No. 38 in the Berlin Case
For ourselves, we must beg respectfully to decline accepting the
milleniums of Brugsch.
But the Egyptologists suggest there were long gaps in the
history of Egypt when the nation lapsed into barbarism. You
cannot, however, cut slices of five hundred years or so out of the
history of a nation and find the art resumed at the end of that
period on the same lines that it stopped at the commencement.
Egypt herself, in historical times, offers conclusive evidence on that
point. With the decline of the national prosperity at the end of the
Roman period, we can clearly trace the decadence of Egyptian
art, until, in sculpture, the forms represented were almost barbaric,
as in the probably 5th century frieze at South Kensington Museum,
representing Our Lord and His Apostles. The ornamentation in
early Christian tombstones in the same Museum may also be
compared with the work of the time of Hadrian. Now, between the
art of the end of the Xllth Dynasty and the commencement of the
XVII Ith there is no indication of the five so-called Hyksos
centuries of the Egyptologists. Mariette pointed out that the
mummy cases were of the same style, and also he remarked that
the names of persons were similar at both these times. One
can only therefore conclude that, if the kings of the supposed
five intervening dynasties ever existed, their dominion was con-
temporaneous with other dynasties in another part of the land.
Briefly stated, we venture to think that the monuments and the
objects in our museums and collections proclaim the progressive
growth of an art commencing at an early period and continued to
historical times, that it was governed by the same laws that have
prevailed in subsequent ages, and therefore that its existence
was not of fabulous duration. It is not intended to imply that
the growth was of absolute regularity, there were undoubtedly
times when it flagged, and others when it advanced with more
xvii.
than ordinary energy. It is the assumption of vast intervals of
suspension to which we must beg to demur. We are not
concerned with Egyptian chronology, except so far as it relates to
the history of art, which is a scientific study. At present it
scarcely appears that the numbers and duration of the dynasties
usually given rests on a basis that can legitimately be called
scientific. The patience, acumen and industry of the Egyptologists
displayed in, it may be termed, discovering the ancient language,
and their labours in deciphering the inscriptions, are deserving the
highest praise. It is not surprising if they have hitherto been less
successful in dealing with the chronology. To offer any trustworthy
account of the growth and duration of Egyptian art can only be
accomplished by men who have previously studied the development
of other national arts offering dates respecting which there can be
no question.
It will be understood that the exigencies of space in the Gallery
have compelled the Committee to exclude large objects, especially
sculpture in stone. In wooden statues the Exhibition contains some
rare and admirable specimens. For portraiture on a miniature scale,
No. 25, Case F, could not be surpassed. The two statuettes of boys
to the right of it, Nos. 30 and 31, contributed by the Liverpool
Museum, shows the delicate art of the early XVIIIth Dynasty. A
touching interest attaches to these effigies of the little lads who
died during the lifetime of their parents, and who come down to us
across the centuries as souvenirs of undying parental affection. It
may be pointed out that the intention of the rough models of
boats was purely representative, they were placed in the tomb
as indications of what the deceased would require in his voyage
to the under world and for his diversion during his life there. The
execution in the more finished examples of wood carving proves that
in the artistic treatment of this material the Egyptians were not
only imitators but have maintained a position of supremacy.
xviii.
In some departments the Gallery contains more complete
collections than can be found in any single Museum, This is
especially the case with the ceramic art, name-scarabs and glazed
schist. The collection of inscribed bronzes is important, so also are
those of jewellery and articles in silver. For the high quality of
their execution, and their representative character, the objects con-
tained in the Case contributed by the Berlin Museum form a typical
representation of Egyptian art which will long cling to the memory
of the visitor to the Gallery. The contribution evinces also the
deep and friendly interest taken by the Direction of the Museum in
any effort to promote the study of the art in another land. The
same spirit has animated Dr. Fouquet in forwarding from Cairo his
choice and interesting selection. The warmest recognition is due
to the Direction of South Kensington Museum for its contribution,
especially for its loan of artistic glass work. And also to the
Direction of the Liverpool Museum for lending the valuable and
representative objects from the Meyer Collection.
HENRY WALLIS.
xix.
POTTERY.
The varieties of Pottery in Egypt are so well marked and
distinct that even a fragment is often conclusive evidence of a date.
Since the Pottery has been studied in late years it has become one
of the main guides in research ; and the principal varieties are
therefore described in the following pages. (See Plates IV. to VII.)
In the IVth Dynasty several classes of Pottery are found. One
is very coarse and thick, of soft brown ware. Such jars (2) are
always hand-made, and figures of potters shaping these jars, with one
hand inside and the other outside, are found in early tombs. The
large cups (1) though smooth on the sides are always very rough
below, and seem as if intended to be stuck in the ground. Small
tables are found in the tombs. Little vases and dishes (3, 4, 5) are
found in great numbers, as offerings, at the Pyramids and in
private tombs.
The finer kind of pottery is thin and hard, with a highly-
polished facing of red haematite. It is nearly all of bowls (7), with
varied forms of lips, but all based on one type. There were many
coarser imitations of this, faced with haematite. Bowls with spouts
(9), with a slight brim (10), with deep conical base (11), cups (8),
and small bowls with curved mouths (12) are all of this style.
Other wares of the same date are the fine hard white-brown paste,
without any facing (16), and the greenish drab ware which is often
vitrified (14). It appears as if the baking of this was pushed as
far as possible in order to make a stone-ware of it, and many times
they overdid it, and so half fused the material. Some rough
brown ware of fair quality, without any facing, was also produced
(13, 15, 17). The above are all from the tombs of Medum, and
similar pieces are found at Gizeh, and also in Upper Egypt.
The Xllth Dynasty shows a very different style. None of the
ware is so fine as the good ware of the IVth, nor is any quite so
XX.
coarse as the previous coarse stuff. The general material is a rather
gritty and fairly hard red-brown ware, without any fine facings,
and smooth micaceous darker brown in the finer kinds. These
varieties of form are mostly represented in the pottery shown in the
scenes at Benihasan. The incised pottery is characteristic of this
age. Large dishes are scored with patterns of basket work, lotus,
fishes, birds, &c. These were not only a local manufacture at
Kahun, but were also common further up the Nile.
In the XVIIIth Dynasty a light drab ware is frequent, as in
the pottery at Koptos. The forms (48-55) were all placed in the
foundation deposits of Tahutmes III.; while the forms (56-62) are
in red-brown ware from the Maket tomb at Illahun, the date of
which is now fixed, by the above foundation deposits, to be about
the same period. On none of this pottery is any blue painting to
be seen. The colours are black on red-brown, and black and red
upon pale brown.
The next change is under Amenhotep III., when the brilliant
blue colouring (not glaze) came into use, and the highly polished
face of the pale drab ware appears. Some of the forms were
continued, but in general the later types have a fulness in the
upper part of their curves, giving them a globular tendency quite
different from the earlier forms. The frequency of handles, the
corbelling under the brims, and the very slender and elegant
forms of some vases, such as 65 and 83, are very characteristic
of this age. Decoration of bands, patterns, or plants, was very
usual in blue, picked out with black and red. These types
continued through the reign of Rameses II.
Under Sety II. some further coarsening of the general forms
is seen. (See figures 87 to 94.)
Still more clumsy and futile shapes appear in the XXI I nd-
XXIIIrd Dynasty. (See figures 95 to 99.)
In the XXVI th Dynasty many new forms appear, owing to
XXI.
Greek influence. Of the Egyptian types we may note that
the characteristics of this age are the sharp shoulders, the
full, drop-shaped outlines, and the small handles. The ware is
partly of the old rough red-brown ; but a very fine brown paste
was also used for the smaller vases, and a grey-drab ware of very
thin and delicate make is also common. The use of a whitewash
facing is not unusual. (See figures 100 to 115.)
Various forms also were introduced from Greek sources.
Among these foreign forms, which are also found in Palestine at the
same age, the commonest are figures 116 to 126.
These types belong to the XXV I th Dynasty, and most of them
passed away before Alexandrine times. During the Ptolemies, the
distinctive pottery is mainly of Greek design, and what should be
attributed to the early Roman age in Egypt is easily seen by a
glance at the pottery in the Museum at Pompeii, where many of the
forms are identical with what are found in Egypt.
The next stage is the great change in the 2nd century a.d.,
when ribbed pottery came into use.
The date of this change is indicated by our never finding
ribbed potsherds used for the inscribing of the earlier tax receipts,
even as late as Antoninus they are smooth pottery. But ribbed
pottery was constantly used in Coptic times for inscribing ; and it
appears coming into use in a burnt house at Tanis, which seems
from the papyri to belong to about 180 a.d. The pieces of ribbed
pottery are very characteristic of late Roman sites all over Egypt
and Palestine. The thick peg bottoms of the great amphorae
survive when almost all else has been crushed and crumbled. The
ware is dark yellow-brown, rather fine, but very liable to flake and
decompose. Rather later, there is the late Roman period of pottery,
marked particularly by the salmon-coloured ware and the stamped
patterns.
xxii.
FOREIGN POTTERY.
Of about the Xllth Dynasty, there have been found in various
sites small vases of black ware, ornamented with zig-zag prick
patterns rubbed in with white. (See figures 127 to 134.)
Such patterns and white filling of the pricks belong to the
pottery of the lowest stratum at Hissarlik, which, since Dr. Dorpfeld's
recent work, must be placed well before 2000 B.C. The style has
also a close affinity to the earliest black pottery in Italy, and as
nothing in the least related to the forms, the patterns, the material,
nor the technical modes of this ware is known in Egyptian work
since the Xllth Dynasty, it is most probable that this was imported
from the north of the Mediterranean.
In the XVIIIth Dynasty a great variety of pottery is found in
Egypt which is absolutely identical in body, colour, ornament and
general appearance with the so-called Mykenaean or Aegean ware
belonging to the Bronze Age of Greece.
Of these, figure 136 is of the age of Amenhotep III., and
figures 137 to 145 are of Amenhotep IV.; 135 is of about the same
age, or early in the XlXth Dynasty. Beside many separate dis-
coveries of vases of these types in tombs and burials with objects of
the XVII Ith-XIXth Dynasties, the great evidence of the age is the
finding of over 1,400 fragments scattered throughout the acres of
rubbish heaps which were thrown out from the palace of Akhenaten
at Tell el Amarna, and which have never been disturbed since that
age, about 1400 b.c. From the patterns and forms found at Tell el
Amarna and at Gurob, it appears that, though contemporary, these
two places were supplied by different trade routes. The Gurob
types belong to the Peloponnesian styles, and the Tell el Amarna
types to the Rhodian and Cypriote ; probably these came by the
African and the Syrian coasts respectively. Coarse imitations of the
xxiii.
form 136 are found in the XlXth Dynasty, and various modifi-
cations of the type of 137, flattening it from a globular to a lenticular
form, are very usual from this date onward in Egypt.
Another great class of foreign pottery is the Phoenician. This
is found also in Cyprus and Palestine, and, being quite disconnected
from Egyptian ware and patterns, it is clearly of foreign origin. The
principal forms are shown in figures 146 to 154.
The earlier forms of 149, 150 are thick hard black ware, painted
with coarse white lines imitating wicker covering. These belong to
the age of Amenhotep III. and IV. After these, the ware is thin
and browner, looking almost metallic in the finer examples. These
probably come down to the close of the XXIIIrd Dynasty. The
bowl with curved handle (154) is of the same ware. The long vase
(148) is always of red pottery with a polished red face. The vase
(152) is always of light drab or yellow white pottery, rather soft.
The bowl (146) with pattern imitated from a leather pouch bowl
fastened on to a withy handle, is characteristically Cypriote. Only a
few chips were found at Tell el Amarna, but enough to prove that
the type goes back to 1400 b.c.
The later foreign styles, of the early Greek age of the ;th
century onward, are so distinctly Greek in origin that it is needless
to enter on their details here, as they are not of historic value
regarding Egyptian antiquities.
POTTERY FIGURES.
Besides the use of pottery for household purposes, it appears
very early for modelling and statuary. The fragments of statues at
Koptos show a style far more archaic than any stone sculpture known
in Egypt.
Pottery figures occasionally appear in the XVIIIth-XXth
xxiv.
Dynasty ; but they are not common until the Roman period, when
they abound. On all Roman sites in Egypt of the ist-3rd
centuries a.d., innumerable figures of coarsely-made pottery are
found. The fronts are moulded in moulds, the backs are
generally plain ; a hole is usual in the back for hanging them up.
Such figures began to be used in Greek times, but during the first
three centuries they abound in the East. Egypt, Syria, Asia Minor,
the Euxine, Greece, and other regions swarm with such images of
gods, goddesses, cupids, genii, and human persons. A few are of
real excellence — as the so-called Tanagra figures — but the majority
are only of interest occasionally from remarkable subjects.
Beside red or brown pottery made of clay, a vast variety of
objects were made in a paste of fine quartz sand, and coated with
coloured glazes. This use of glazed ware appears for beads in the
IVth Dynasty, for scarabs in the Vlth, for vases in the Xllth,
and for ushabtis in the XlXth Dynasty. Very probably each of
these classes may be earlier than is here indicated from examples at
present known. The multitude of glazed pendants and ornaments
were made by pressing a lump of the quartz paste into a mould of
red pottery ; how the paste was removed is not clear, but it was
afterwards glazed, and then fitted with beads stuck on by a dab of
glaze at either end, to provide threading rings for hanging it on
a necklace. The requisite moulds were made by taking pottery
impressions of carved dies, and then baking them. Thousands of
such moulds, comprising over six hundred different varieties, have
been found in the factories of Tell el Amarna. This system
originated in the XVIIIth Dynasty, and continued into the
XXVIth.
PL. IV.
POTTERY OF XII™ DYNASTY. 1/16™-
PL. V.
POTTERY OF EARLY XVIII™ DYNASTY. 1/16™-
POTTERY OF XVIII™ DYNASTY. 1/16™-
POTTERY OF XIX™ DYNASTY. 1/8™-
PL. VI.
POTTERY OF XXIInd DYNASTY. 1/12™.
POTTERY OF XXVI™ DYNASTY. 1/12™.
POTTERY OF XXVIth DYNASTY. 1/20™
PHOENICIAN POTTERY. XVIII™ DYNASTY. 1/8™.
XXV.
GLASS AND GLAZING.
Glazed objects are found from the scarabs of Khufu onward,
until the late Roman period. Glass itself is found from the
beginning of the XVIIIth Dynasty onward, and is very common
in late Roman times. The use of a coat of glaze thus appears
to precede the production of large masses of the same material
wrought alone. In what manner the coloured glaze was first
produced we do not know, but probably it was much the same
as in the great factories of the XVIIIth Dynasty, as Ave find
the coloured frit already used in early times.
Glass vases were never made by blowing or casting until
Roman times. All the early vases were made by hand working
on a metal rod. Such was the method in the XVIIIth Dynasty,
and similar vases appear to have been made in the Xllth Dynasty,
to judge by paintings. A metal rod of the size of the intended
interior of the neck, and rather conical, was coated at the end
with a ball of sand held together by cloth and string. This was
covered with glass, probably by winding a thread of glass round
it, as large beads of this age are thus made. The vase could
then be reheated as often as needed for working by holding it in
a furnace, the metal rod forming a handle and the sand inside
the vase preventing its collapse. Threads of coloured glass could
then be wound round it and incorporated by rolling, the wavy
pattern was produced by dragging the surface in different directions,
the foot was pressed into shape by pincers, the brim was formed,
and the handles were put on. Lastly, on cooling, the metal rod
would contract and come loose from the neck, and after it was
withdrawn, the sand could be rubbed out from the body of
the vase.
Glass beads were made by winding a thread of glass around a
xxvi.
copper wire; when cold, the wire was withdrawn. This was the
constant method in the XVIIIth Dynasty, and on to the Roman
age. But the Coptic beads are made either by folding over a flat
piece of glass round a wire, or by nicking a tube of glass while soft,
and breaking it into short pieces.
Besides the use of glaze upon siliceous ware, it was largely
employed on stone. The favourite materials were a soft black
steatite, and a rather harder brown schist. These were both of
them used from the earliest work down to Greek times. A schist
which, when glazed, appears mottled, with dark patches and veins,
was frequent in the Xllth and earlier part of the XVIIIth Dynasty.
An extraordinary material for receiving glaze is a basis of transparent
or translucent quartz. Crystal beads coated with a violet, blue, or
green glaze are found in the Xllth Dynasty; a piece of a large
square block of blue glazed quartz was found at Thebes ; and part of
the legs of a lion, about six inches long, which had been glazed, comes
from Koptos. Quartz objects which have entirely lost their glaze
can yet be distinguished as having borne it, by the rounding and
solution of the edges of the cracks, due to the alkaline mixture,
a change which no mere heat of a furnace could effect. There is no
instance of the use of glaze upon metal, or enamelling, until the
Roman period. That art appears to belong to the Celtic or Northern
Bronze Age, and to have been thence introduced into Italy and the
rest of the world.
The colours of glazes are very marked and striking. Some
tints are found from many different periods, while others are peculiar
to a single reign. Here we can only attempt a general outline ; and
an actual study of the scarabs, and other such dated objects, can
alone give that certainty to the eye which is needed to distinguish
the colours of various periods.
Purple is only seen in the manganese glaze of the XVII I-XX 1st
Dynasty, principally in lines on ushabtis, &c.
xxvii.
Violet is very rare, except in Akhenaten's age ; a few ushabtis,
&c, of the XXV I th Dynasty show a grey-blue violet.
Blue is very dark and full in the XVIIIth-XXIst Dynasty,
black-blue being seen under Tahutmes IV. ; a medium blue
is the commonest colour, and the shades of it can only be
distinguished by practice; the Ptolemaic and Roman coarse
blue glazed bowls and vases are lumpy on the surface, often
crackled, and slightly green, like pale indigo ; the blue of
IVth-XIth Dynasty is pale and very brilliant, while that of
the Xllth is slightly darker. The peculiarity of the Xllth
Dynasty is the extreme dryness of the glaze, which is only
just thick enough to reflect, and is very flat on the face.
Blue green appears in the Xlth-XIIth Dynasties; occasionally
in the XVIIIth, oftener in the XlX-XXth, and again in
the XXVIth.
Dark green, of a peculiar blackish cast, belongs expressly to the
earlier part of the XVIIIth Dynasty, and is used on mottled
schist. A dirty black green appears under Sety II.
Full green appears from the Vth Dynasty onward, and is
perhaps as common as the blue. The shades cannot be
described.
Pale green is characteristic of the XXI Ind-XXVIth Dynasties,
often on objects of very delicate modelling, and not sufficient
to produce a wet or shining face.
Grey green, varying to grey blue, is found in figures of very
delicate but conventional work, probably of the Persian
period.
Olive green occurs in the XlXth and in the XXXth Dynasties.
Yellow green was used under Akhenaten.
Yellow, of a rich cadmium tint, belongs also to Akhenaten. A
more lemon yellow occurs in glazed figures of Roman age,
usually on the prominent parts of blue figures.
xxviii.
Red, varying between red brick and maroon, belongs to
Akhenaten, and is seldom, if ever, found in the Ramesside
and later times.
White occurs from Akhenaten to the Ramessides.
Black only under Akhenaten.
The decomposition of the glazes leads to a variety of appearance
which quite hides the original colours. The green glazes decompose
to a woody brown, sometimes without breaking the surface, at other
times being converted into a soft brown earthy coat. The blues
fade to a plain white. Both of these changes seem to result from
the gradual abstraction of the copper, leaving the iron to form brown
instead of green, and leaving no colouring base in the blue. The
red glass imitating jasper is coloured by diffused red oxide of copper ;
and when kept moist this is gradually converted into green silicate,
so that its former colour would not be suspected.
TOILET.
Hairpins are usually of ivory in the earlier times, and also of
wood. The heads are commonly simply wide and flat at the top, but
sometimes carved with figures of animals. In the XVIIIth Dynasty
they are of wood or bronze ; the heads are marked with lines, but
are not enlarged. In Roman times they are of turned ivory, or
with figures of Taurt, Venus, &c, on the head ; also of bronze,
and of glass.
Combs begin with a sort of notched scraper of ivory in the
IVth Dynasty at Medum, for no comb could be cut until a fine saw
was in use. In the Xllth Dynasty well cut combs are found, with
very long teeth, and open-work backs. In the XVIIIth Dynasty
combs abound, coarser and shorter in the teeth, never double-edged,
XXIX.
but sometimes with ornamental work, — such as a horse drinking, —
on the back. In Roman and Coptic times the combs are nearly all
double, generally fine and coarse ; some are monstrous, with wide
teeth, two or three inches long.
Ear-studs were worn in the outer edge of the ear, as shown on
a coffin in the Ghizeh Museum. They are usually of ivory, with a
central peg, by which the two halves stuck together. They are
common in the XVII I th Dynasty. A simpler form was a stud
all in one piece ; such were often of limestone with a facing of
ostrich egg.
Earrings were worn on the upper edge of the ear, as shown on
the above named coffin, and as used by the Berbers now. They
were made with a gap in them, by which they were slid on to the
cartilage. The commonest material is red jasper ; some are of red
glass imitating that; others of drawn glass rod, bent round, blue,
yellow, red, black or white; others are of shell, circles being cut out
of helical shells. Ears pierced in the lower lobe are seen on the
coffin of Anentursha from Gurob, and on heads of Akhenaten.
Earrings of European pattern are common in Greek and Roman
times, of gold, silver, or lead, with beads threaded on. Many
varieties are shown in use in the ist century a.d. on the modelled
stucco head covers of mummies, and in the 2nd and 3rd centuries a.d.
on the painted portraits. In Coptic times silver and bronze earrings
abound.
Finger rings are found mentioned as early as the IVth Dynasty,
but the earliest examples are of the XVII Ith Dynasty. These
are of gold, silver, bronze, lead and tin. Glazed-ware rings with
a bezel bearing the King's name, begin under Tahutmes IV.
and disappear under Rameses II. In the XXIInd Dynasty they
reappear again as broad bands, even a whole diameter wide, pierced
with patterns, usually of a god seated. Scarabs were also frequently
set on wire finger rings, to be worn turned either side outward. In
XXX.
the Roman time bronze finger rings were very common ; they often
have a small key combined with them, so that the security of the
strong box was on the master's finger.
Bracelets of threaded beads, in deep bands, about a diameter
wide, are shown on figures early in the IVth Dynasty. They are
found of this same deep form in the Xllth and XVIIIth Dynasties.
The finest were made of minute stone beads threaded on gold wires ;
the poorer of pottery beads, on threads held by bars pierced with
holes, such as are frequently found. Bracelets of solid gold are
found of a plain circular form as early as Xllth Dynasty; usually
they have each end beaten out to a wire, which is lapped round the
opposite shank, so that a sliding enlargement could be obtained.
The date of these bracelets is probably pre-Greek, but this same
system lasted for torques to late Roman time. The serpent bracelets
are Ptolemaic and early Roman. In Coptic times plain brass brace-
lets are very common, sometimes with animals' heads at the ends.
Iron was also used then.
Collars of long beads, arranged radially, are shown in the
Vth Dynasty, and actually remain on the mummy of an early
priestess now at Ghizeh. Beside these a narrow band around the
neck was also worn, made of threaded beads. Such was worn by
the lower classes more than the deep semicircular collar. In the
XVIIIth Dynasty the collar threads were gathered at either end to
a lion's head full-face, or, later, to a hawk's head. These great
collars became an object of imitation, and the figure-heads of the
sacred boats had immense collars of inlaid metal, imitating rows
of beads and pendants. On mummy cases also these collars were
painted, and an amulet of the collar in a small model form, made
of gold inlaid with stones, is found on late mummies. In Coptic
times torques of silver and bronze are very usual ; the ends usually
are wound round each other, so as to slide ; sometimes they hook
together.
XXXI.
Beads. — A simple string of beads was often worn around the
neck, or several loose strings. The patterns and styles of these
beads are of historical value, as they are so often found separately
that they serve as indicators of dates. The characteristics of each
period, marked in italics, are as follows : — IV-VIth Dynasties, green
tubular pottery beads, and black tubular. Xllth, spherical beads
of amethyst, carnelian, and transparent sard or agate ; garnet
beads ; cylinders of green-glazed schist ; spherical and very smooth
beads of fine blue glaze ; globular glazed beads with a nick at
the end to imitate the groove in stone for starting drill. Rude
small green glaze figures of hawks, bees, &c. Xllth and early
XVII Ith, long tubular blue glazed beads, also with spiral black
bands around them. Very dark purple globular beads, imitating
garnet. The same of barrel form sprinkled with crumbs of white
quartz flashed with blue glaze. Small beads rolled between finger
and thumb on a thread, thin barrel form. XVI I Ith Dynasty, red
jasper, black-brown agate, lotus bud or flower pendants, lenticular or
quoit edged beads, small pendants of flowers, &c, of green felspar,
white quartz, red agate, black porphyry, &c. Coloured pastes of
pottery ware coloured throughout, red, green, blue green, violet,
&c. Glass, black and white, under Tahutmes III. Later in the
XVI I Ith Dynasty, purple, indigo blue, violet, blue, green, bright
yellow, clear brozvn yellow and opaque red are all found. The
forms are roughly spherical, with traces at the ends of the break
of the glass thread from which they were wound, all of the beads
having been made by winding on a wire. Long beads are also
found, both wound and drawn tube. Patterned beads with black
and white eyes in them are also usual, mostly as pendants. They
continue into the XlXth Dynasty.
Glazed beads are very small in the earlier part of the XVI I Ith
Dynasty, some as minute as eighty to one grain weight. The colours
are black, violet, blue, green, yellow, and red. In the later part of
xxxii.
the Dynasty larger beads appear, and pendants moulded of many
forms. Flat thin disc beads, some almost of papery thinness, are
frequent, usually blue, some black. Flower beads, moulded in a flat
rosette form, threaded through the middle, belong to the end of the
Dynasty.
The XlXth Dynasty appears to have only followed the same
forms in a debased manner.
The XXI Ind Dynasty opens an entirely new line. The
brilliancy of colours is gone, and only blueish green and pale green
appear. Shells are frequent, and strings of discs cut from shell.
Soft stone beads of calcite and alabaster, and pierced agate pebbles
in the rough, are in the place of the finely cut jasper and agate beads
of the XVII Ith, pendant figures of Isis and Horus, Bast, pig, sacred
eye, &c, are very common. The glass is mainly clear indigo blue,
in a double cone form, or rings or roughly globular beads of wine
yellow.
In Roman and Coptic times glass is predominant, glaze having
almost disappeared. The glass beads are roughly globular, rounded
from pieces of tube nicked off ; grass green and lemon yellow
are the most usual colours, opaque red, black, white, and clear dark
blue, also appear. Opaque lemon yellozv, banded lengthways with
clear green or clear white, is characteristic. The dark blue are
largely pendants of rude lump forms, also truncated cube beads, and
inlaid with red, white and black eyes. Imitations of emerald, rock
crystal, and onyx are common. The Italian beads of black opaque
body, covered with spots or zigzags of colour, are often found.
Such are known in Italy from the 7th century B.C. down to the fall
of Rome. Another variety has a body of blue, with eyes of red
surrounded with yellow, or blue with white, projecting from the bead.
Flat discs with the Christian monogram, surrounded by such eyes,
show the period. Glass, with a coat of gold or silver included in the
thickness of it, was often used for beads. Bone and mother-of-pearl
xxxiii.
pendants were common, much like the rosaries, &c, still made in
Palestine.
Buttons are found in Upper Egypt, apparently of the
XVIIIth Dynasty, but always rather rude in work, and without any
clearly Egyptian designs. They bear rude figures of men, tortoises
or turtles, crocodiles, rosettes, hawks, and geometrical patterns.
The materials are bone, steatite, and in one case pale amethyst.
The stitching hole is through a loop at the back.
Kohl pots. — The small receptacles for the kohl, or eye paint,
vary greatly in form and material. In the Xllth Dynasty they are
wide, with a broad lip, and this pattern lasted in the beginning of
the XVIIIth Dynasty. They are of alabaster, marble, or basalt, in
most cases. In 'the XVIIIth Dynasty the tubular form becomes
general, and appears in reeds, wood, glazed pottery often inscribed
or figured, and rarely alabaster. Two or more tubes were joined
together to hold different paints, varying in colour or medicinal
properties. Many sportive decorations accompanied the kohl tube,
a monkey seated embracing it, a monkey climbing up it, a seated
nurse and child, &c. The paint for the eyes is named mesdeiu,
and is mostly galena ( sulphide of lead) roasted or unroasted ;
pyrolusite, oxide of copper, sulphide of antimony, and haematite
are also found. Green colour is seen on the eyelids of figures of
the IVth Dynasty or earlier, and green eye paint is found of silicate
and carbonate of copper. The powders were mixed with gum into
a soft paste or salve, and were then applied to the eye with a rod.
Kohl sticks. — The rods for applying the kohl were bulbous
at one end, which was dipped in the salve and drawn along the
eyelid. The materials known are haematite, bronze, wood and glass.
XXXIV.
SCARABS.
See Case M, Divisions II., III., IV.
Origin. — From the earliest historical times the beetle that
was seen burrowing on the edge of the desert was consecrated
in Egyptian minds as an emblem of the Creator, and we find it
employed in the language with the ideas of creating, becoming, or
being transformed. The reason of this meaning we can only
infer from the insect's nature and habits. It may be seen
toilsomely rolling a large ball up the sand of the western desert
edge, and then burying it, an obvious parallel to the ball of the
sun rolling over to its burial in the western desert. And when
new life sprang from the eggs concealed in the ball, another
parallel, with the new life of the returning sun, would occur to
the primitive mind, always on the alert to seize any analogies
or inferences that would explain the mystery of nature. That the
sun is represented in later times between the feet of the beetle,
as its ball, shows that this resemblance was familiar.
Use. — Why this sacred emblem should have been so favourite
an ornament and amulet we cannot now fathom. But from the
first monumental king, Sneferu, down to the last native dynasty,
it is continually found used as a basis for engraving the names
of kings.. Such royal scarabs were laid with the dead, to place
them under the protection of their former lord in the next world,
and to ensure that they should follow him and share in all the
immunities and privileges that so great a divine man would enjoy
with the gods. Scarabs were also worn during life — as a fashionable
ornament, — as a claim on the blessings that belonged to royalty, —
and for official purposes of sealing in the king's name. This last
use is pointed out by the frequent use of metal rings with royal
names, which were doubtless used for official seals by those
XXXV.
entrusted with the royal property and affairs. As scarabs were
also commonly employed for sealing letters and property — dozens
of such sealings being found in any early town — it is obvious
that those with royal names would have served as Government
seals, especially those set in finger rings. This use as seals is
also pointed out by the many found bearing private names. Such
were the direct forerunners of the universal private seals of the
East in modern times. No document is there valid without a
seal, not even a private letter, and such is naturally the case in
any civilisation where writing is not universal. In our land the
use of seals has only remained in the case of official or state
documents, which thus receive their validity.
These little seals and amulets give the most complete and
interesting series of historical objects dated during the three or
four thousand years of Egyptian civilisation. They illustrate the
fluctuating art and skill of the various ages, they point out by their
numbers the varying wealth of the people, and they have preserved
for us the names and memory of many kings that would be
otherwise unknown. Their service to history is far greater than
is yet recognised; and in them we have, in their small size, often
beautiful work, and historic value, a series which is to Egypt what
coins are to Greece and Rome.
Cylinders and Plaques. — Beside the scarab two other forms
were used for the same purposes. The cylinder is found often in
the IVth Dynasty, but always roughly cut in steatite or bone; it
belongs in that period to a curious unexplained class of steatite
cylinders, which generally have but rude imitations of hieroglyphics,
and which probably belong to some particular race. Their use
died out in the Vth Dynasty but revived in the Xllth-XIIIth,
when they were commoner than scarabs; these later cylinders are
mostly in hard stone and glazed, and are slender in form. Some
large ones at the close of that age have two separate bands of
xxxvi.
figures around them. After this, cylinders were but rarely found
in the XVIIIth, XlXth and XXVIth Dynasties. The other type
is the rectangular plaque. This appears as early as Khufu, but is
most general with private names of officials under Ramessu II.
Materials. — The art of glazing was fully used from the earliest
to the latest age of scarabs ; and most of them are cut in steatite
or schist, and glazed with various colours. The shades of blue and
green defy description, and can best be studied in the originals.
Others are of pottery, similarly glazed, and many of these were
moulded, and not hand-worked like the stone ; such are commonest
in the XlXth-XXth Dynasties. In all ages scarabs were some-
times made in hard stones. Amethyst appears in the Vlth to
Xllth Dynasties, and rarely in the XlXth. Green jasper in
the Xllth, often in the XVIIIth, and but rarely on till the
XXVIth Dynasty. Red jasper and carnelian mainly in the
XVI I Ith-XIXth Dynasty. While grey, drab, yellow and other
unusual jaspers were employed in the XXVIth Dynasty. Obsidian
appears in the Xllth Dynasty. And very rarely beryl, white
quartz, shelly limestone, fossil wood, recent wood and ivory are
found.
It was the fashion in the Xllth Dynasty to use plain scarabs of
amethyst, faced with inscribed gold plates ; three fine examples of
these are in this Exhibition. And in all ages scarabs were often set
in gold frames, and made up in finger rings.
Subjects. — Those objects here exhibited almost all bear royal
or private names ; but such are only the rarer varieties. The great
bulk of scarabs have some small device, a scroll, a lotus, a sacred
animal, a good wish, or a prayer to some deity ; but as such are of
minor importance, they are a better field for the seeker of pretty
things and the patron of bric-a-brac than for historical research.
Some classes of unusually large scarabs are shown in Division VI I.
Under Amenhotep III., in the XVIIIth Dynasty, big scarabs were
PL. I.
LIST OF THE PRINCIPAL HISTORICAL KINGS OF EGYPT.
IV™ DYNASTY, 3998-3721 B C. VIth DYNASTY, 3503-3322 B.C. XII™ DYNASTY, 2778-2565 B.C.
SEN EFERU
TETA
an
AMENEMHAT I
(323 CS?1
Q3J
KHAFRA
(H3
MENKAURA
(q e= UUU]
DEDEFRA
(33
SHEPSESKAF
(JWEJ
V™ DYNASTY, 3721-3503 I
USERKAF
awn ct
PEPY I
_USERTESEN I
AMENEMHAT II
MENTUEMSAF
USERTESEN II
_USERTESEN III
U
AMENEMHAT III
(323
Vll™-X™ DYNASTIES, 3322-2821 B.C. AMENEMHAT IV
(EES
(UuHUD
NEFERKARA
0 I u]
C- RAENK
SAHURA
(3H
KAMERYRA SANKHABRA
SEBEKNEFRURA
awsii
XIIIth DYNASTY, 2565-2112 B.C.
SEKHEMKARA
LiL^U CULJ 4
SHEPSESKARA
(33 CSS
. KHYAN SEHOTEPABRA
SEBEKHOTEPRA
XI™ DYNASTY, 3005-2778 B.C. ( G ^ ^ j
MENTUHOTEP II SEBEKHOTEP I
GEID GW) C^tTi
ASSA
UNAS
MENTUHOTEP III
MERMASHAU
NEFERHOTEP
CUD
H
KARA
GEED
-^U CEO
SEBEKHOTEP III
SANKHKARA
SEBEKHOTEP V
PL. II.
LIST OF THE PRINCIPAL HISTORICAL KINGS OF EGYPT.
AAAB XVIIth DYNASTY, 1738-1587 B.C. XIXth DYNASTY, 1328-1168 B.C.
V X X O ^ ~~ ^— >1 TAUAAKEN
RAMESSU I
(3D Qj
GE=J (M23 C3HB
0 (VHTl GE) (MH
/• — t- ~n nr^ ts~n ramessum
CEESJ (^-JJXV...^ DYNASTY, 1587-1328 B.C. QJipJ]
SEBEKHOTEP VI , AAHMES MERENPTAH
r^UHC^SJ (3D CHS3
AMENHOTEP I AMENMESSU
, ™ .(^ni 025) (HI] QfflEP
( ° ^ "^P X U% 1 ). TAHUTMES I SETYII
(TIP] CAE! GERE (USD
TAHUTMES II SIPTAH
XV™ DYNASTY. ,998-,738 B.C. QJQ (^jj^ (WTHI
APEPA I HATSHEPSUT SETNEKHT
<j=m cmm ^ osaEi cese am
TAHUTMES III
APEPA II (g^^] C A t P j °YNASTY' 1168"1033 B-C-
(MID Z:
AMENHOTEP II RAMESSU III
G3D QESD QMEI QERj
UNPLACED EARLY KINGS TAHUTMESJV RAMESSU IV
Sep (MB G3BI (fc
SEBEKEMSAF AMENHOTEP III RAMESSU V
GTE2D CESSdS GHH] ®E
AMENHOTEP IV RAMESSU VI
r 8 1 ^TT. - ^offis (H SEP aai
V ° ' I ^ as J|l ^> A 'kU- J ALTERED TO AKHENATEN RAMESSU VII
dudumes (j±E GMaJ GmSD
/~~i~f~>J /- o -fx, * 1TN RASMENKHKASERKHEPRU RAMESSU VIII
cjluj ujhuj gf a (Au»yn r^r] c^wn
SEBEKKARA TUTANKHAMEN RAMESSUJX
AY RAMESSU X
r^HTr^n MflM QMS]
^ iJ^zfJ L^lfLjJ HOREMHEB RAMESSU XI
RAMESSU XII
-j am]
PL. Ill
LIST OF THE PRINCIPAL HISTORICAL KINGS OF EGYPT.
XXIst DYNASTY, 1033-960 B.C.
SIAMEN
(jj XXIV™ DYNASTY, 721-715 B.C. XXVII™ DYNASTY, 527-406 B.C.
PASEBKHANU I BAKENRANF KEMBATET
(HE) QSH] (Jiu\ (¥21 (Wj (^jg
AMENEMAP
( & A 1 CTIWli ANTARYUSH
V VI 11 A ^ XXIVTH-XXVTM DYNASTY. 715-665 B.C. f „ _ „ M
Q5S cnsi
C^fMil CC^ST7)| PAANKHY I KHESHYARSH
PANEZEM « PAANKHY II ARTAKHESHSHES
PANEZEM II
f nSU*-°l r/lSl^TI SHABAKA ANTHARYUSH
1 ! □ ^) I ^XV|c=S= CUAOAXAI/A „ „
SHABATAKA XXVIII™ DYNASTY, 406-399 B.C.
XXIInd DYNASTY, 960-795 B.C. jj ( IjM ^ "lT)|
SHESHENK I. TAHARKA ^KABBASH
OSORKON I AMENRUD
TAKELUT I XXVIth DYNASTY, 665-527 B.C
C°^l~~.1!'0 Q — fljCU-lfl J PSAMTEK I XXIX™ DYNASTY. 399-378 B.C.
OSORKON II
NIAFAURUD
OSORKON II f ^—-m f pr^ —
(35E3I WL^J
s- SHESHENK II NEKAU (•fefUll CT^S^]|
, TAKELUT II N , - -v.
(3SS\ 0"QSloj] psamtek .. ^ (Mil Cm^sH
SHESHENKim (e j o] ("i1^^] PSIMUT
CM 01l»] - HAABRA GSI
PIMAY ^— ^ , - si
QSMrD C0^°J ^i-^ XXX™ DYNASTY. 378-340 B.C.
XXIII- DYNASTY. 795-721 B.C. ^^^HMES"|^ NEKHTHORHEB
I ~iH>0J lUoLJ! J PSAMTEK III
" OSORKON... CTfu) (^FkSI ^ NEKHTNEBF ,
xxxvii.
inscribed with long inscriptions of his lion hunts, his marriage, and
other subjects. From the end of the XVIIIth Dynasty till about
the XXIIIrd large scarabs were also inscribed with a portion of the
ritual chapter concerning the heart, and were inserted in the mummies ;
hence they are called " heart scarabs." These generally bear the
name of the person for whose mummy they were made ; and when
they were stolen and re-used the name was changed. One here has
the old name ground out and another inserted ; one has the old name
cut away with the first line, and the end of the inscription ground
away to put in a new name ; and one has the latter half of the
inscription ground away, and a fresh name and details added,
beginning at the tail end of the scarab, while the first name remains
at the head end.
To all who care for historical interest the scarab will always
have a fascination ; and these little things, that have survived
thousands of years, will remain indestructible in the changes of the
world, and delight other collectors and students hundreds of
generations hence.
BRONZES.
See Cases J. K.
Though the mere accident of material is of little consequence
to the importance of an object, yet for convenience it is usual to
treat bronzes apart from the other art of their time in faience, stone,
wood, or ivory. As the figures illustrate but a short portion of
Egyptian history, and have a special style due to the material, there
is the more reason for grouping them together.
XXXV111.
Age. — The period during which bronze figures were made is
particularly noticed in the present arrangement. Many figures bear
dedications cast or chased upon the base ; and from the fashion of
the dedicator's name we can infer with some probability the age of
the bronze. The names of the rulers were followed by the common
people, and Sheshenk in the XXI Ind, Amenardus in the XXVth,
Psemthek in the XXV I th, set the fashion as much as Henrietta,
Caroline, or Albert have led name-giving in England. Of course,
such names linger on in use long after the first example, yet the
absence of a common name from a group gives a probable later limit
to its age. If in a long list of English names not one George was
found, there would be good reason to date it before 1720. How
common royal names become in a single century is seen at Defenneh,
where — limited to that period of the XXVI th Dynasty — five out of
seven rings show personal forms of royal names of that dynasty.
Now, in the present gathering of over two dozen bronzes with
names, only five have names as late as the XXVIth Dynasty ; so,
though no doubt some of those with names of the XXVth belong to
the earlier part of the XXVIth, yet it is pretty clear that the
majority are older than the XXVIth Dynasty. Moreover, those
fixed to the XXVIth show a very different style of work in the
face to that of the earlier bronzes, and preclude our placing others as
contemporary with them. And not a single instance of the names
of the XXXth Dynasty is to be seen. Hence the result of bringing
together these examples may be broadly said to show that such
dedicated figures began to be made about the XX I Ind Dynasty,
say, 900 B.C., that they were commonest about the XXVth and
early XXVIth Dynasty, say, 700 to 600 B.C., and that they became
scarce after 600 B.C. This, of course, only points to the date of the
fashion of inscribing dedications ; other bronzes were probably
made until the Plotemaic or Roman age, but for the history of art in
bronze the dedicated examples must be the main source.
XXXIX.
Art. — These results are of much value in estimating the
relations of Egyptian and Greek art. During the critical period,
just before the rise of art in Greece, we have not many dated
examples of work in Egypt ; and those, of great size or elaborate
nature, may be considered to stand by themselves. But, on the
other hand, in these bronzes we have what the common artist-
workman was in the habit of doing ; and they show the general
level of ability in the country. It has been often supposed that
the refinement of Greek art influenced the revived art of Egypt,
but we now see that, so far as it affected the style, it can only
have been for the worse. The best work here is of the age
900-700 B.C.; the fairly good style is of 700-600 B.C., and after
that the prim, lifeless neatness, or else the clumsy aspect of
the features, show that no improvement is to be looked for. But
then can hardly be a question that these bronzes, so portable and
so easily produced, may have had much to do with the develop-
ment of art in Greece. Unhappily, we know but very little of
early Greek bronze ; the fragments from the Parthenon show,
however, that it was probably in advance of the work in stone
of the same age.
Production. — From the earliest time the Egyptian modelled
in wax; in the oldest tale of the IVth Dynasty a wax model is
mentioned. The large bronzes, supposed to be of early age (in
the Louvre), appear to be cast from a wax form ; and certainly in
the XVIIIth Dynasty the cire perdue process was so perfected that
bronze was cast only 730th of an inch thick over an ash core, without
any appreciable want of centering, — certainly true to 7iootn of an inch.
This beautiful process, however, disappears in the later bronzes,
and in the XXV I th Dynasty and onward they are generally cast
solid. The core, and probably the mould also, was made of finely
ground ash, mixed with just enough material to bind it ; as no
clay is apparent, probably a medium of gum or resin was used,
xl.
which became carbonised in the furnace. The core is always
quite porous and friable, so that no contraction or warping could
take place during the baking and melting out of the wax. A
good deal of detail was put in by modelling on the wax, and
bronzes sometimes show it plainly ; but the surface of the bronze
was generally chased and scraped over to finish it.
Hammer work appears in the bowls of the XVII Ith Dynasty ;
these are very thin, and in some cases beautifully elastic and
flexible. After hammering, the surface was scraped in crossing
directions to reduce it and smooth it. It was sometimes then
chased with patterns, as in a small bowl here ; or worked with
repousse figures, as in one here with a line of bulls.
The material used for metal work was pure copper, sometimes
hardened with oxide of copper and arsenic in the earlier times.
In the XVIIIth Dynasty, bronze was introduced; and in late
times pot-metal, or copper and lead, is found.
W. M. FLINDERS PETRIE.
xli.
USHABTIU.
Ushabtiu, or Respondents, were the working figures of Hades or of the nether
world, they were intended to cultivate the fields for the deceased, water the
canals, move the sand from the East to the West, and be ready when called.
They were made in the form of the god Osiris, bandaged with the hands
protruding and crossed, in which they held usually a hoe, and sometimes two,
or the crook and flail. They are composed of various materials, such as
different stones, alabaster, faience, wood, terra-cotta, and wax, and were placed
in the tombs, either in wooden boxes, more or less decorative, strewn along
the floor, or laid under the mummy itself.
These figures range in time from about the Xlth to the XXXth Dynasty,
a period of upwards of two thousand years, during which time the same forms
were maintained, with certain variations, such as decoration, the shape of the
wigs, position of the inscriptions, &c, indicative in a manner of the period at
which they were made.
As, for instance, the earliest figures known have simply a vertical column
of hieroglyphics down the front, setting forth the name of the deceased, with
arms hidden beneath the bandages. Late in the XVII I th Dynasty, the hands
and arms were crossed, holding in one a hoe, and in the other a flail or sceptre.
Later on, during the XXth Dynasty, a hoe was carried in each hand, and in
one a cord was held, which was attached to a basket that was slung over the
back. During the XlXth Dynasty the figures are sometimes represented as
wearing a full skirt.
In the XlXth Dynasty inscriptions in horizontal bands first appeared,
which contained the Vlth Chapter of the Book of the Dead, in addition to
the name and title of the persons for whom they were made. Figures are
occasionally found which are inscribed with the usual formula, and have a
blank space left for the name of the deceased person or Osirian, indicating
that these figures were kept in stock by the undertaker, or perhaps the
Cher-heb.
During the XXVIth Dynasty they assumed a quite different form, and
can generally be identified by their style ; they are hand moulded, and have
the Vlth Chapter horizontally placed round the legs of the figure ; they are
of compact composition or faience, standing upon a square pedestal or foot,
with a vertical plinth running up the back, and are bearded.
In the tombs of great persons, such as kings or high functionaries, many
hundreds of Ushabti figures were deposited, as, for instance, in that of King
Seti I. upwards of 700 were found, and in that of Heru'ta, at Hawara,
Professor Flinders Petrie found them built up with solid masonry in recesses in
the tomb to the number of 399, mostly of the best style of work ; they were
xlii.
arranged in rank-and-file, but this was an exception to the usual way of
disposing them.
May not the practice of depositing the Ushabti figures in the tomb be a
survival of the ancient custom of immolating slaves and retainers at the
obsequies of a great man ? The Egyptians being of a humane nature, detesting
taking life unnecessarily, devised the plan of using the Ushabti figures to take
their place.
F. G. HILTON PRICE.
xliii.
List of the Principal Egyptian Divinities.
Amen-Ra, the word Amen signifies " hidden." He was the principal god of Thebes,
but after the Hyksos period his worship became general, he was King of the
Gods, Lord of Lords, and had many other titles, he typified the sun in its
strength. He is represented as a man walking, wearing a crown on his head,
with disk and plumes.
Amsu, Ames Min or Khem, an ithyphallic god, representing the reproductive
principle of nature and the harvest. He was worshipped principally at
Chemmis, called in Greek times Panoplis, and now Ahmim. He is repre-
sented similar to Amen, holding in his left arm a flail, and in his right the
organ of generation.
ANHOUR, son of Ra, a form of Shu. His name signifies "leader of the heavens."
He was principally worshipped at This. He is represented wearing plumes,
and holding a cord in his hands.
ANPU, or Anubis, son of Osiris and Nephthys, the sun and the sun set. He typified
the dusk or twilight, and was the god of burials, and as such is coloured black
and wears the head of a jackal.
Anupt, jackal-headed, was a form of Hathor, and a female form of the god Anubis,
she symbolized the dawn or evening twilight. Probably worshipped at
Denderah.
Apis, or Hap, a primordial god engendered by himself, he typified the sun, and was
the second life of Ptah, of Tmu, Osiris and Ptah-Seker-Ausar. The seat of
his worship was Memphis. He is represented in the form of a bull, also as a
man wearing a bull's head.
Apuat, is jackal-headed, his name signifies " opener of the roads."
Bast, was the wife of Ptah and mother of Nefer-atmu. She typified the dawn, and
represented the beneficent heat of the sun as a producer of vegetation. She
is represented cat-headed, and was worshipped at Bubastis.
Bes, was a god of Arabian origin, and has been identified with Set. He had many
phases ; he represented death in a bad sense. He appears as a warrior with
sword and shield ; as a dancer, and as a musician playing the harp or tambourine.
xliv.
His head, which is of hideous proportions, upon a deformed body, is often
found upon articles of the ladies' toilet, therefore he may be thought to have
been a favourite with the fair sex. He probably typified the sun. He wears
a large cornice of plumes on his head.
CHNEMU, or KHNUM, ram-headed, was father of the gods, maker of gods and men ;
he is sometimes called the " modeller," and is represented at Philce as making
a man on the potter's wheel. He was chiefly worshipped in Nubia, and typified
the sun. He wore plumes on the top of the ram's-head.
CHENSU, or CflONS, was son of Amen-Ra and Mut, he was called the "hunter," the
"persecutor" and the " reckoner of time." He typified the moon and was
worshipped at Thebes. Chensu is sometimes represented as hawk-headed and
sometimes human-headed, wearing the moon's disk upon cow horns on his
head.
Genii of the Amenti, were the four children of Horus, representing the four cardinal
points. Their names are Mestha, Hapi, Tuamautef, and Oebhsenuf. Mestha is
human-headed, Hapi is ape-headed, Tuamautef is jackal-headed, and Oebhsenuf
is hawk-headed. They occur usually in faience and wax. The heads of these
genii formed the lids of vases for holding the intestines of the human body—
which vases are incorrectly called canopic.
HAPI, the NILE, called the "bringer of food" great lord of provisions, &c. No one
knows his abode. In figures he is represented as a man, with water plants on
his head, and with female breasts.
Harpacrat, or Harpocrates, was the son of Osiris and Isis. His name signifies the
infant Horus. He is the type of the rising sun, reborn daily, and is typical of
eternal youth. He is represented naked, with finger of right hand to his
mouth, wearing a large atef crown.
HATHOR, was lady of heaven, lady of the sycamore, daughter of Ra, and mother of
Horus. She is called the "dwelling of Horus." She typified the dawn and
the evening twilight. She is identified with all the principal goddesses, who,
in different places, bear different names ; and is depicted with a cow's head or
broad human face, with cow's ears.
HERU, cr HORUS, was son of Osiris and Isis. He typified the sun in its full strength,
and was styled the avenger of his father, as each morning he overcame Set —
darkness, who had murdered his father Osiris. He is usually hawk-headed.
xlv.
I-em-hetep, was the son of Ptah and Nut. He typified the rising sun and healer, and
was worshipped principally at Memphis. He is usually represented as a man
sitting upon a throne, with an open papyrus on his knees.
Isis, or AUSET, was a daughter of Seb and Nut, the earth and sky. She was wedded
to her mother before they were born. She is the mother of Horus, the sun in
his strength. Isis typified the dawn and the sunset, and was one of the
goddesses of the West. Figures of Isis are common, they often represent her
as the mother nursing the infant Horus or Harpocrates, in which she was un-
doubtedly the prototype of the Virgin and Child. She is represented in
female form, with the horns and disk of the sun or the throne upon her head.
Maat, goddess of law, personifying truth. She was daughter of the sun and lady of
heaven. She is usually represented sitting on the ground bandaged, with her
knees raised up, wearing an ostrich plume on her head. She was the wife of
Thoth.
Maahes, HOS, or ARIHOSNEFER, son of Ra and Bast, great god lord of Denderah.
He was worshipped in Nubia as the " glaring lion," and is represented with a
lion's head wearing plumes upon it.
MENHIT, a form of Sechet, worshipped at Esneh and typified the dawn. She is
readily mistaken for Sechet, as she has the head of a lioness, but on her head
she has a uraeus.
Mentu-Ra was lord of Thebes, and another form of Ra, and is hawk-headed,
wearing a disk, in front of which are ursei and plumes.
Mersker, or Merit, was a form of Hathor. She was "ruler of the West," lady
of the nightly heaven, regent of the double-earth, and of Hades. She is
figured as a serpent with a human head.
MUT, the mother-goddess, wife of Amen, lady of heaven and regent of all the gods.
It is supposed that she typified the dawn ; she is represented as a woman,
wearing the crown of Upper and Lower Egypt.
NEIIBKA, serpent-headed, personified the rejuvenescence of life, and was worshipped
at Heracleopolis. He is depicted in faience with the body of an animal, with
the head of a serpent.
NEFER-ATMU was the son of Ptah and Bast or Sechet. He typified the rising sun.
He is usually depicted in human form with a head-dress of lotus flowers and
plumes, and sometimes standing upon a lion.
xlvi.
Neith was the daughter of Amen Ra and Mut. She was mistress of women, lady of
heaven and inventress of spinning. Her name signifies the shuttle, which was
her emblem. She was worshipped at Sais, and probably represented the dawn.
She is represented as a woman wearing the te'ser or crown of Lower Egypt.
NEPHTHYS was a daughter of Seb and Nut, sister of Osiris and Isis, married to Set,
the darkness, and is said to be mother of Anubis, the dusk. She typified the
sunset. She is associated with Isis weeping over the bier of Osiris ; and is
represented as a woman, wearing on her head the basket and house.
OSIRIS, or AUSAR, was the son of Seb and Nut. He married his sister Isis before
they were born. He typified the sun of yesterday, slain by his brother Set, the
darkness. He was worshipped throughout Egypt. He is always represented
in the form of a mummy, wearing a conical crown with a plume on each side,
holding a flail and crook in his hands.
PTAH, a primordial god, was styled the opener and architect of the universe,
creator of the substance of the gods, &c. He is represented wearing a skull
cap and bandaged as a mummy. He typified the morning sun.
Ptah-Seker-Ausar, a naked dwarf, with bow legs. He symbolised the form of
Osiris, who is about to be transferred into the rising sun. He is sometimes
seen standing on crocodiles, and has a beetle on his head.
RA was the principal deity in the Egyptian Pantheon, and was par excellence the
great sun god, emblematical of the sun of to-day. He is supposed to have
emanated from Nu. He was worshipped under various names in the different
nomes of Egypt. He is represented of human form, with the head of a hawk-
wearing a disk upon it.
RANEN, allied to Merseker, presided over the productions of the earth and
maternity. She is represented as a snake with a human head, surmounted
with the horns of Hathor and a disk.
SATI, was styled the eye of Ra, lady of heaven, &c, and was worshipped in Nubia,
and was probably a form of Isis, and as such typified the dawn. She is
represented as a woman, wearing the white crown with horns on each side.
Seb, the great cackler, who produced the mundane egg. He was a son of Shu and
married to Nut. Figures of him are very rare. He is figured as a man with a
goose upon his head.
xlvii.
Sebek, a son of Isis, and personified the sun of noon day. He was a great god, lord
of the earth, wearing the head of a crocodile. He was worshipped before the
Xllth Dynasty at Ombos.
SECHET, described as beloved of Ptah, was worshipped at Bubastis and at Memphis,
and represented the fiery dawn. She was nearly allied to Bast, and was
formerly known by that name. She always wears the head of a lioness, in
distinction to Bast, who has that of a cat.
SELK, or Serq, a form of Isis and a daughter of Ra. She typified the dawn and has
been called the eye of the sun. She wears a scorpion as her head-dress.
Set, or Sutekh, was the son of Seb and Nut, and wife of Nephthys. His worship
was of great antiquity, dating back to the old Empire. He typified darkness,
and was daily at war with Osiris. He is always depicted of human form, with
the head of a strange animal with large square topped ears.
Sphinx, represented Harmachis, or Horus on the horizon, and is figured as a
lion with a human head.
Shu, was the eldest son of Ra and Hathor, and twin brother of Tefnut. He
represented the dawn or sunlight, or the air, and in his association with
Tefnut probably typified the constellation of the Gemini. Shu is of human
form, usually seen kneeling, holding up the disk of the sun.
TEFNUT, was a daughter of Ra, and sister and wife of Shu. She usually wears the
head of a lion with disk and uraeus, and typifies the dew or moisture.
THOUERIS or Taurt, was the wife of Set, mistress of the gods. Depicted with the
head of a hippopotamus, standing, with the tail of a crocodile behind. She
personified the Great Bear, and is represented as devourer of the wicked.
Thoth or TEHUTI, was the son of Khnemu, and was called the measurer, scribe of
the gods, inventor and patron of arts and sciences, and many other titles. He
was supposed to have been self-produced. He is represented of human form,
with the head of an ibis and typified the moon.
Tmu, or ATMU, was a primordial god and typified the setting sun, and as such was
called the " Closer." He was worshipped at Heliopolis, and is represented of
human form, wearing the crown of Upper and Lower Egypt.
F. G. HILTON PRICE.
The thanks of the Committee are due to Miss Hilton Price,
Dr. H. Schafer and Mr. Towry Whyte, for assistance in cataloguing
the Collection.
The Initial letters which follow the description of each object in the
Catalogue stand for the Contributor s name, as under: —
£ Colonel John Evans.
F G General Sir Francis Grenfell, K.C.B.
F P Professor W. M. Flinders Petrie.
HP F. G. Hilton Price, Esq.
H W Henry Wallis, Esq.
K H. Martyn Kennard, Esq.
M Captain W. J. Myers.
M G Rev- William MacGregor.
T W E- Towry Whyte, Esq.
CATALOGUE.
Case A.
Vases in Stone, mostly of the Ancient Empire, in the left hand division ; in
the right hand division, Vases and other objects in Alabaster of various
periods.
1 BOWL. Grey granite. IVth Dynasty. H. 5 in.
F P
2 Vase, with two handles. Black and white granite. Ancient Empire. From
Abydos. H. 6% in.
M G
3 Vase, with two handles. Black basalt. Ancient Empire. H. 3^ in.
4 Bowl. Basalt. Ancient Empire. H. 4^ in., D. 8]4 in.
5 Bowl. Black basalt. Old Kingdom. W. 4 in.
6 Bowl. Granite. Ancient Empire. H. 2^a in., D. jyi in.
7 Bowl. Slate. D. 9^ in.
H P
M
F P
H W
M
8 Unguent Vase. Red variegated marble. Ancient Empire. H. i^jin.
H W
9 Stibium Vase, with cover. Granite. H. 2%$ in.
H W
10 Vase. Granite. H. 1% in.
H W
11 VASE, with two pierced handles. Steatite. H. Zyi in.
M
2
12 Stibium Vase, inscribed with the name of " Queen Ahmes-Nefertari,
living." {Note. — The word " living " shows that the vase dates from the
XVIIIth Dynasty.) Marble. From Thebes. H. 2 in.
H W
13 KOHL Vase, of semi-globular form, upon a circular flat foot ; flat top. Green
mottled steatite. From Thebes. H. 2^ in.
H P
14 KoilL Vase, with haematite stibium rod. Blue alabaster. H. i^j in.
F G
15 Kohl Vase, globular body, with flat base, narrow neck, and flat top. Brown
porphyry. From Thebes. H. 2 in.
H P
16 Stibium Vase. H. 2% in.
H W
17 Stibium Vase. Alabaster. H. 1% in.
H W
18 KOHL Vase, globular body. From Thebes. Blue alabaster. H. in.
D. 2)i in.
H P
19 Vase. Blue alabaster. H. 1 % in.
H W
20 VASE, with two handles. Black and white granite. Ancient Empire. H. 4^ in.
M G
21 Stibium Vase. Grey alabaster. H. \y2 in.
F P
22 Bowl. Granite. Ancient Empire. H. ilA in.
H W
23 Vase. Limestone. From a tomb at Assouan. H. 2l£ in.
H W
24 VASE. Marble, with two gold handles. From Abydos. H. 1 % in.
M G
25 Vase. Yellow marble, with two gold handles. From Abydos. H. 2 in.
M G
26 Stibium Vase. Granite. H. iVs in.
H W
27 Stibium Vase. Granite. Ancient Empire. H. 2% in.
H W
28 Vase. Granite. H. ill in.
H W
29 Vase, with two handles. Black and white granite. Ancient Empire. From
Abydos. H. 2\i in.
M G
30 Vase, with two handles. White marble, From Abydos. H. 3^$ in.
F P
31 GEnochoe. Granite. XVIIIth Dynasty. H. 3^ in.
Rev. Herbert Wilson.
32 Vase. Granite. H. 2^ in.
H W
33 Bowl. Granite. Ancient Empire. H. 3%^ in., D. 7^ in.
34 Bowl. Granite. Ancient Empire. H. 2^ in., D. \o~/z in.
H W
35 Bowl. Black and white granite. Ancient Empire. H. 1 y2 in.
H P
36 Vase, or Cup, for cosmetics. Syenite. From Sakkarah. H. \ yx in., D. 3 in.
H P
37 Vase, with two handles. Ancient Empire (?). H. sH m-
M
38 Table, from a tomb. Diorite. IVth Dynasty. D. 14 in.
F P
39 Vase, with two handles. Black and white granite. Ancient Empire. H. 2*4 in.
M G
40 Bowl. Black and white granite. Ancient Empire. From Benha. D. 8% in.
H P
41 Unfinished Dish. Basalt. Ancient Empire. D. 7^ in.
M
42 Vase. Alabaster. H. 2% in.
F P
43 Vase. Alabaster. H. 4^ in.
F P
44 Dish. Quartz. D. 9 in.
F P
45 Vase. Alabaster. H. 1 % in.
F P
46 Vase. Alabaster. H. 3^ in.
F P
4
47 Stibium Vase. Alabaster. H. i1/ in.
/4 H W
48 Vase. Alabaster. H. iV4 in.
H W
49 Vase, with two handles. Alabaster. H. 9 in.
F P
50 Head of Serapis. Alabaster. H. 4 in.
H W
51 Cylindrical Vase. Alabaster. H. 2 in.
H W
52 Stibium Vase. Alabaster. H. \}i in.
F P
53 Vase, on foot. Alabaster. D. 6 in.
H P
54 Dish. From the Pyramids of Abusir. Banded alabaster. Ancient Empire.
D. \oy2 in.
T W
H W
M
M
H W
H P
H P
H W
55 Vase. Alabaster. H. 3^ in.
56 Bowl. Alabaster. D. 3 in.
57 Vase. Alabaster. H. 3 in.
58 Vase, cup shaped. Alabaster. H. 1^5 in., D. 3 in.
59 Triple Unguent Vase. From Sakkarah. Alabaster. H. 2ji in.
60 Alabastron. Alabaster. H. 6 in.
61 Flat Vase. Alabaster. H. 2 in., D. 4 in.
62 Vase, with two handles (broken). Alabaster.^ H. 2 in.
M
63 Amphora-SHAPED Vase, with one handle and pointed base. Alabaster.
H. 4^ in.
K
64 Vase, with two handles. Alabaster. H. 21/, in.
M
65 Unguent Vase. Alabaster. H. 2\i in.
H W
66 Bowl. Alabaster. D. 4}i in.
Walter L. Nash, Esq.
67 Alabaster Vase, inscribed with the prenomen of Amenhotep II. XVIIIth
Dynasty. 6 in.
H P
M
H W
H W
H P
H P
H W
M
H W
H W
H W
F P
F P
H W
F P
F P
H P
68 Cup. Alabaster. H. 2]/2 in.
69 Vase. Alabaster. H. 3^ in.
70 Vase. Alabaster. H. 2}i in.
71 Unguent Vase. Alabaster. H. ifg in.
72 Stibium Vase and cover. Alabaster. H. 2l/% in.
73 Vase. Alabaster. H. 2% in.
74 Vase. Alabaster. H. 4^ in.
75 STIBIUM Vase. Alabaster. H. 2% in.
76 Stibium Vase and cover. Alabaster. H. 2^ in.
77 Stibium Vase. Alabaster. H. 2.}£ in.
78 Vase. Brown limestone. H. 2 in.
79 Vase. Brown limestone. H. 4^ in.
80 Cover to Vase. Alabaster. H. 1 in., D. 2% in.
81 Vase. Alabaster. H. 4^ in.
82 Dish. Alabaster. Xllth Dynasty. From Illahun. D. 14 in.
83 Bowl. Banded alabaster. H. 3^ in.
84 Libation Vase, of elongated form. Alabaster. From Thebes. H. 10 in.
H P
6
85 Fragment of a Vase, with head. Alabaster.
H W
86 Dish. Alabaster. XVIIIth Dynasty. D. 4^ in.
F P
87 Inlay. Head of a Hittite Chief. Alabaster (?). XVIIIth Dynasty. H. 5^ in.
M G
88 Alabastron. Banded alabaster. H. 7H in.
H P
89 Toilet Vessel. Alabaster. D. 2$A in.
M
90 Alabastron. Alabaster. Ancient Empire. H. 3 in.
M
91 Bowl, with two handles. Alabaster. Style of Ancient Empire. D. 6 in.
H P
92 Dish. From the Pyramids of Abusir. Banded alabaster. Ancient Empire (?).
D. 133^ in.
T W
H W
F P
F P
H W
93 Alabastron. Alabaster. H. 9 in.
94 Amphora-shaped Vase. Alabaster. New Empire. H. 8}4 ii
95 Duck-form Dish. Alabaster. XVIIIth Dynasty. L. 4% in.
96 Vase, with two handles. Alabaster. H. 2 in.
97 Lid of Vase, inscribed with the name of Nefer Ka-ta. Alabaster.
Vlth Dynasty. D. 6% in.
T W
98 Lid of Vase, inscribed with the name of Pepi. Alabaster. Vlth Dynasty.
D. 43^ in.
T W
7
Case B.
Sculpture in Stone, heads, statuettes, and a small selection of
Sculptors' models.
1 Head of a Prince. Alabaster. IVth-VIth Dynastv (?). H. \ % in.
F P
2 HEAD. From Coptos. Limestone. I Vth Dynasty (?). H. in.
F P
3 Bust of a Female. Green basalt. Xllth Dynasty. H. 43^ in.
F P
4 Head of a Dancer. From Negada. Limestone. H. 1 in.
F P
5 Head of a Queen. From Coptos. Steatite. XlXth Dynasty. H. 1 in.
F P
6 Trial Piece. Head of a king. Limestone. H. i]A in.
F G
7 Trial Piece. Head of a king. Limestone. H. J% in.
M G
8 CVNOCEPHALOUS, seated upon a pedestal, a collar round neck to which is
suspended a pectoral, with the figure of an Ibis ; a plinth at the back is
inscribed with a dedication, the scribe and prophet of At. Neterti-neterti-aa,
a great God Lord of Heaven. Limestone. H. 5}^ in.
H P
9 ISIS AND HORUS. Smaragdite. H. 3->b in.
F P
10 FIGURE OF Pe-NAR, the potter, maker of dishes in the temple of Amen.
Steatite. H. 2^ in.
Miss Brocklehurst.
11 Head of a King. Greenstone. H. 8 in.
/. Trovers Smith, Esq.
12 Weight, flat base, and oval top, inscribed with the Cartouche of Psameticus.
Basalt. XXVIth Dynasty. 14-840 grains.
H P
13 Weight, oblong and rectangular, bearing the Cartouche of Khufu. Basalt.
IVth Dynasty. 2,060 grains Aeginetan standard. (Sec Griffith, " Notes
on Egyptian Weights and Measures." Proc. Soc. B. Arch., June, 1892.)
H P
s
14 Head of a King. Foreign type, so-called Hyksos. Hard serpentine.
IXth Dynasty. H. 6 in.
University Coll: Edwards Col.
15 Kneeling Figure of a Priest holding a vase in front. Hard brown lime-
stone. Xlth Dynasty. H. 3^ in.
W. Rome, Esq., F.S.A.
16 Standing Figure of Queen Taii, wife of Amenophis III. Inscribed :
" The Princess who is in great favour, the great wife of the King Taii,
" beloved by Isis." Limestone. H. 4*^ in.
Miss Brocklehurst.
17 Figure walking, dedicated to Antef, son of Nech-ta. Steatite. Xlth
Dynasty. H. 8}( in.
Miss Brocklehurst.
18 Group OF Three Figures, inscribed for " Khenti Kheti, daughter of Keshu
Khenti Khetihotep, son of Aukat Keshu, son of Auket." Brown limestone.
Xlth Dynasty. H. 4% in.
F P
19 Head of a Statue, with short black wig. White calcareous stone. IVth
Dynasty. H. 4^ in.
H P
20 Head of a Priest. Shaven head. From Haifa. Stone. H. 2}^ in.
F G
21 Seated Statue of Kames. From EshmunSn. Black basalt. XVIIth
Dynasty. H. 2>]/2 in.
F P
22 TORSO of a Princess of Khu-en-aten. From Tel-el-Amarna. Ouartzite.
XVIIIth Dynasty. H. 6 in.
F P
23 Sculptor's Trial Slab, with King walking. Ptolemaic. Limestone.
H. 6 in.
F P
24 Artist's Trial Piece. Limestone.
Walter L. Nash, Esq.
25 Artist's Trial Piece. Limestone.
Walter L. Nash, Esq.
26 Artist's Trial Piece. On one side, part of a figure with collars ; on the other
a right foot. From Tel-el-Amarna. Limestone.
Walter L. Nash, Esq.
9
27 Artist's Trial Piece. On one side, the head of Khu-en-aten ; on the other,
a right foot wearing a sandal. From Tel-el-Amarna. Limestone.
K
28 Artist's Trial Piece. On one side, a portrait of Thii ; on the other, another
portrait, eyes, &c. From Tel-el-Amarna. Limestone.
FP
29 Artist's Trial Piece. Portrait of Khu-en-aten. Limestone.
F P
30 Artist's Trial Piece. Head of a lion. Limestone. H. 2 in.
FP
31 Plaster Cast of the Head of an Ibis. H. 5 in.
FP
32 Artist's Trial Piece. Head of woman, probably a portrait, finely sculptured
upon it. Tel Basta. Basalt. 6 in. by 4*^ in.
H P
33 Head. From Tel-el-Amarna. Limestone.
FP
34 Head of Khu-en-aten, from a Ushabti. Black granite. XVI 1 1 th Dynasty.
H. 2^ in.
FP
35 Artist's Trial Piece. Sechet, seated. Limestone.
South Kensington Museum.
36 Fragment of Statue of Isis, seated, with Horus. Stone. XXVIIth Dynasty.
H. 2% in.
H W
37 Head of a Man. Ptolemaic. Black basalt. H. 4 in.
HW
38 Head of a Man. Saitic. Black basalt. H. 3^ in.
H W
40 Head of a Functionary. Black basalt. H. 6y2 in.
M G
41 Head of a figure of Sechet. Limestone. H. 4^4 in.
F P
42 Bust of a Girl from a Stela. Limestone. XVIIIth Dynasty. H. 4 in.
F P
43 Head of Serapis. Roman period. Green basalt. H. 5 in.
H W
44 Portion of a Figure. From Naucratis. Alabaster. H. 3^ in.
F P
IO
45 Standing Figure, wearing cloak. From Naucratis. Stone, painted. H. 3^ in.
F P
46 Standing Figure, wearing a cloak. From Naucratis. . Limestone H. 6% in.
F P
47 Bust of a Prince (?) in role of Horus, with side-lock, earrings, necklace and
pendants, with a bird in his left hand, under which he carried a bag.
Calcareous stone. H. 2XA in.
H P
48 FIGURE, wearing large black wig, playing a harp which is coloured red and
black. From Drah-abul-Neggeh. Stone. H. 4f in.
K
49 A Woman, playing the harp. Remains of painting. From Drah-abul-Neggeh.
Limestone. Xllth Dynasty. H. 2}£ in.
H W
50 DOLL, with large wig, painted black. Limestone. H. 4^ in.
H W
51 Doll, with large wig. Limestone. H. 8 in.
M G
52 Busts of an Official and Wife. Limestone,, painted. XVIIIth Dynasty.
H. 6 in.
University Coll : Edzvards Col.
53 Two Wrestlers. Traces of painting. From Drah-abul-Neggeh. Limestone.
Xllth Dynasty. $lA in-
H W
54 Doll. Limestone, painted. H. 3^ in.
H W
55 Seated Figure of the royal officer, Neb-senne. Dedicated in the Temple of
Mentu of Erment by his son Mennu. Limestone, painted. XVIIIth
Dynasty. H. 71/ in.
F P
56 Recumbent Figure of a Female. From Gurob. Limestone, painted.
H. 4}{ in.
F P
57 KHUENATEN, queen and princess, headless. From Tell-el-Amarna. Limestone.
H. 6 in.
F P
58 Cipius OF HORUS. A fragment; fine work. Limestone. H. 3% in.
H P
1 1
59 CYNOCEPHALOUS Ape, seated in front of a scribe's ink-pots of cartouche shape.
From Koft. Steatite. H. 2% in. by 3^ in.
F G
60 Head of Amen. From Koft. Limestone. H. in-
F P
61 Osiris. Eye, beard and flail gilded. Steatite. H. I2#$ in.
M G
62 Osiris. Feet gone. Sakkarah. Green basalt. XXVIth Dynasty. H. 8^ in.
H P
63 Kohl Vase, in form of an ape holding a small vase. From Thebes.
Blue alabaster. X I Ith Dynasty. H. 3% in.
H P
64 Pectoral, with loop at the top, having a representation of Isis suckling Horus,
kneeling in the midst of lotus plants, around which are Ra, Hathor, Anubis,
and perhaps Thoth. Mother-of-emerald or felspar. 3.}^ in. by ?>% in.
H P
65 Head of a King, with helmet and urxus. Sandstone. H. 4 in.
M G
66 Pectoral in form of a naos with Scaraba^us in relief, in a boat, with Isis and
Nephthys on either side. Basalt. 4 in. by 3^ in.
M G
67 FIGURE OF HARPACRAT, seated on a throne supported by lions; right leg
broken off. Green basalt. 3^ in.
M G
63 Seated Figure of the official Anu. Granite. XVI I Ith Dynasty. H. 7 in.
M
69 Part of scene of Monkey driving a Chariot. From Gurob. Limestone.
XlXth Dynasty. H. 3^ in.
F P
70 Base of Statuette, inscribed. From Medum. 51-3 in. by 2^ in.
K
71 Fragment of Seated Figure. Two lions standing beside the chair.
Limestone.
F P
Case C.
1 Vase, with cartouches of Ramses II. and Nefertari. Alabaster. Mounted in
gold, with silver foot, H. 4V2 in.
F P
2 Face, for inlaying. Red glass. H. 1% in.
F P
3 Vase, inscribed with the banner-title of Khufu. Alabaster. H. 8^5 in.
Liverpool Museum.
4 FACE, for inlaying. Red glass. H. iyi in.
F P
5 Bottle. The body egg-shaped, with long neck, slightly increasing towards the
top. Ptolemaic period. Silver. H. 6 in.
H W
6 Pot, cylindrical. Plain. Ptolemaic period. Silver. H. 2lA in.
H W
7 Vase, engraved with leaf-pattern. Silver. H. 3^/ in.
H W
8 Nefertum, with lotus-flower head-dress. Silver. H. 4^ in.
9 Full-sized Helmet of Pottery. Green glaze, bearing in front the name of
the Osirian, Har-Psamtik. XXVIth Dynasty. Porcelain. H. 7^ in.
M G
10 Osiris. From Koft. Silver gilt. H. 3^ in.
11 BOWL, with expanding rim. Ptolemaic period. Silver. D. 4^4 in.
12 Ring. Silver.
13 Ring. Silver.
14 Ring. Silver.
FP
H W
H P
H P
H P
15 Cat, seated, for suspension ; front legs broken off at knees. Silver. H. }i in.
H P
16 Ichneumon, walking, for suspension. Electrum. L. 1% in.
H P
13
17 Harpacrat, seated, wearing the atef crown ; lett arm is broken off, right hand
holding sceptre. Silver. H. i in. ^ ^
18 Girdle-tie. Silver. iA in.
7 HP
19 Spoon, with long bowl and handle. Ptolemaic period. Silver. L. xoyi in.
H W
20 Hawk, wearing the double crown. Silver, plated on composition. 2^8 in. ^
21 Nefertum. Silver. W% in.
H W
22 ANHOUR, wearing the plumes, and holding the cord in both hands. Silver.
H. iZ£ in.
K
23 ANHOUR. Silver. H. \7A in.
H W
24 Amen-Ra, standing. Silver. H. 2% in.
IV. Rome, Esq., F.S.A.
25 Harpacrat, seated, with double crown. Silver. H. 2% in.
F P
26 Harpacrat, seated, with double crown. Silver. H. 3^ in.
F P
27 Harpacrat, standing, with double crown. Feet lost. Silver, bracelet and
earring of gold. H. 3^ in.
M G
28 Jackal, inscribed MAXIMOS <DAPBIAI0ITH2 IIAXftTOS lEPET^
ANOTBIOS LOTTOS. Silver. H. 3^ in., L. 3^ in.
Count Tyszkiewicz.
29 Statue of a King, kneeling, hands turned palm downwards over his knees.
crowned with helmet and urseus. Silver. 2^ in.
Count Tyszkiewicz.
30 SECHET, lioness-headed, with bracelets on her wrists and a collar on her neck ;
feet broken off. Silver. H. 2^ in.
H P
31 Khnemmu, walking, ram-headed, wearing the Atef crown ; for suspension.
Silver. H. if| in.
F G
32 Lioness Head, from an ^Egis of Sechet. Butastis. Silver. H. 1^ in.
H P
14
33 Bes, with other deities, standing on two crocodiles. Faience, blue glaze.
XXVIth Dynasty. H. i}< in.
H W
34 Mould for making various figures and amulets. Basalt. 2^ in. by i {-}■■ in.
H W
35 Five Figures of Eros, winged. Bought at Alexandria. Greek period.
Terra cotta.
H P
36 Frog, horus crowned with disk and four-headed ram. Lapis lazuli.
yC in., I y4 in-, Y\ in.
37 Cat, seated, for suspension. Granite. H. in.
IV. Rome, Esq., F.S.A.
38 FIGURE OF Ra, seated, hawk-headed, crowned with the disk, and holding the
feather. Bronze, inlaid with glass paste. H. 3^ in.
Harroiv School Museum.
39 Mestha, one of the four sons of Horus, representing the cardinal points. Wax.
XXVIth Dynasty. H. 4 in.
F G
40 Hand of a MUMMY, with four gold rings on the fingers ; the bezel of one ring
being a hedgehog, and of two others obelisks, in lapis lazuli.
Liverpool Museum.
41 Scarab. Glass. XXth Dynasty. 2% in. by \V% in.
K
42 ^Egis of the Goddess Bast, lion-headed, with a collar on which is the
goddess Nut, or the celestial waters, and rows of papyrus and lotus flowers ;
at the sides, heads of hawks ; behind, two cartouches, " the royal mother,
" royal wife, Ta-ta-Bast, ever living," and "Son of the Sun, Un-Sark-[an],"
the names of a Queen (unregistered) and King of the XXI Ind Dynasty.
Electrotype of the original in the Louvre. H. 3^ in.
H P
43 Heart Scarab of Black Basalt, on a gold ring, which went round the neck
of the mummy. 2^ in. by il/> in.
M G
44 Head of Bes, probably part of a dagger. Formerly inlaid. Glass paste to
imitate lapis lazuli. 2 in. by 1^ in.
Count Tyszkiewicz.
45 Handle of Tray, formed of two conventional lotus flowers. Found at
Defneh. Electrotype from the original in the Boston Fine Arts Museum.
University Coll: Edzvards Col.
46 Pillow, or Head-rest, inscribed with the 166th Chapter of the Book of the
Dead. Haematite. From Thebes. H. ^ in. by l% in.
H P
47 Fragment of Inlay. Ivory inlaid, with small squares of red, dark and light
blue pottery. I y& in. by x/2 in.
Liverpool Museum.
48 Hawk, standing, crowned with the double crown. Blue grass paste. H. 2^ in.
H W
49 Head of Hathor, flanked by two uraei, for suspension. Blue glass paste.
H. iS/8 in.
50 Toilet Vase, in form of a gazelle, with legs tied. Faience, blue glaze.
L. 2% in.
51 Stone Bead, bearing the name of Queen Hatasu. XVII Ith Dynasty.
L iverpool M useu m.
52 Bead Work figure of Nut, from a mummy. XlXth Dynastv.
H W
53 Four pieces of Glass Mosaic.
M
54 Scarab, of coloured glass beads, strung closely together, surrounded by remains
of bead network, part of the covering of a mummy. XXIIIrd Dynasty.
Found at Illahun. 14^$ in. by 6J4, in.
South Kensington Museum.
55 Band, found on a mummy, bearing the cartouche of Ramses III.
Liverpool Museum.
i6
Case D.
1 Maat, Goddess of Law, Daughter of the Sun, Lady of Heaven, personifying
Truth Diodorus Siculus records that every judge, on taking his seat in court,
wore one of these figures suspended over his breast, and that, when the court
opened, he placed it on the desk in front of him. The figure is represented
wearing the long head attire, seated upon the ground, with her knees raised,
her form bandaged; upon her head, she wears the ostrich plume (her
emblem) in gold. Mother of emerald. H. i 7/& in.
H P
2 Maat. Chrysolite. H. i%& in.
H W
3 Maat. Lapis lazuli. H. if^th in.
Sir George Curtis Lampson.
4 Hawk. Chrysolite. H. 2^3 in.
W. Rome, Esq., F.S.A.
5 Vase. Inside is a portion of the inner vase, which held the liquid. The outside
is of pierced work, representing winged vultures bearing the seal ; heads
of Hathor, flanked and crowned with ursei, and figures of Bes, separated by
papyrus columns. The mouth and the base are formed of open lotus flowers.
Found in the same tomb with the two wooden balls, inlaid with gold
and glass, in the British Museum, and the four castanets, No. 37 Case F. in
this Exhibition. Blue glass-paste. XXth Dynasty. H. 6t>A in.
M G
6 Hawk. Chrysolite. H. 2 in.
H W
7 Head of a FIGURE with hands clasped under the chin. Roman. Lapis lazuli.
H. 5/8 in.
F P
8 Head of a Woman, of white material, possibly shell, the fillet round the head
inlaid with blue paste, and the eyes with blue, black and white, pieces of red
by the ears. Probably of Queen Thii. XVIIIth Dynasty. H. 1% in.
M
9 A Shrine enclosing Taurt. Down the sides are inscriptions of New Year's
wishes to a person of the name of Psamtek. Softstone. H. 2^ in.
H W
10 A Shrine, surmounted by a row of uraei; doors to the front; sides and back, of
perforated work, representing gods and a scarabseus. Inside the doors is
an inner shrine, containing the head of Sekhet, crowned with the disk.
Faience, green glaze. H. 2 in., W. l1/ in.
i7
11 FIGURE OF Bast, with cat head and human body clothed. Gold. H. 1/% in.
H P
12 Figure of Nephthys, with her emblem on her head. Gold. H. in.
H P
13 Figure of Set. Gold. H. j£ in.
H P
14 Head of a Man, in sculptured glass.
W. Rome, Esq., F.S.A.
15 Figure of Isis, seated with Horus on her knee. Gold. H. in.
/. P. Heseltine, Esq.
16 Head of a King. Soft serpentine or steatite. Xllth Dynasty. H. 5 in.
F G
17 Figure of Hathor, standing with arms to side. Gold. H. 2]4 in.
J. P. Heseltine, Esq.
18 Head OF A King, wearing a helmet, probably Thothmes III. Eyes and eye-
brows inlaid ; holes in front of the helmet for fixing the golden uraeus.
Hard dark blue glazed faience. H. 1 W in.
H W
19 Handle (?). Carved on two of the sides with a lion, a lioness, and the uta eye,
with an ape repeated twice. Green glazed schist. Xllth Dynasty.
L. 2^ in.
{For other examples of glazed scliist, see Table Case M, Division XI.)
H W
20 Seated Figure of a Scribe. Inscribed underneath. Blue glazed schist.
H. i5/£ in.
H W
21 FIGURE OF NEIT, with collar. Eyes and head inlaid with gold. Bronze.
H. 7 in.
H W
22 Figure of a Woman carrying two children in a basket on her back, and
leading a dog with her right hand, while she supports the basket with her
left. (N.B. — This is not a funereal object.) Brown stone. H. in.
H W
23 Funnel, with handle. Onyx. H. 2 in., D. 2% in.
H W
24 BENNU. Gold. H. A in.
F P
8
25 TAURT, feet broken off. Mother of emerald. H. 2^ in.
H W
26 Taurt. Haematite. H. i}i in.
Sir George Curtis Lawpson.
27 Libation Vase OR Cup, with inscription in front of the name of Nesi-Chensu,
a Princess of the XXIst Dynasty. From Der-el-Bahari. Faience, blue
glaze. H. 2]/2 in.
W. Rome, Esq., F.S.A.
28 Taurt. Haematite. H. sH in-
H P
29 Taurt. Haematite. H. 2% in.
H W
30 Kohl Vase. Haematite. H. ia& in., D. iW in.
M G
31 Ink Slab of King Assa. Brown flint. Vth Dynasty. L. $% in., W. 2 A in.
FP
32 Frog. Rock crystal. H.
Walter L. Nash, Esq.
33 Object for Gaming, with 14 sides. Rock crystal.
H W
34 Vase, of Kylix form, with two handles. Rock crystal. Upper Egypt.
D. iji in.
H P
35 Harpocrat. Rock crystal. H. 2% in.
M G
36 Kohl Vase, in the form of a colonette, with palm-leaf capital. Round the
shaft naked women dancing to the music of harps and other instruments ;
above and below, bands of ornamentation of open lotus flowers ; at the
base, bands of leaves and lozenges ; the whole incised and inlaid with red,
green and blue. Wood. XlXth Dynasty. H. aM in.
H W
37 SPOON, the handle formed of a dancing woman playing on a cithern, standing
in a boat in the midst of tall papyrus plants with flowers ; the bow and stern
of the boat end in ducks' heads ; beneath the boat, conventional water, below
which are three sorts of fish ; bundles of water plants tied in the middle
above her head. Wood. Found at Sedment-el-Gebel, with scarabaei of
Amenhotep II. and Thotmes III. L. 8J4 in.
University Coll : Edwards Col.
19
38 Spoon, the handle formed of two figures of Bes facing each other, and holding
a papyrus stalk, the flower of which is between their faces. Inlaid with
green paint. Found in the same tomb as No. 37, at Sedment-el-Gebel.
L. 7 in.
University Coll: Edwards Col.
39 Hawk. Wood. H. 2 in.
W. Rome, Esq., F.S.A.
40
Hawk. Gold eyes. Mother of emerald. H.
iY& in.
H P
41
Portion of Scarab. Lapis lazuli. L. 3 in.
H W
42
Libation Vase of Nesi-chensu. 2]4 in.
H P
43
Libation Vase of Nesi-chensu. 2^ in.
F G
44
Libation Vase of Nesi-chensu. 2^ in.
H W
45
Five Libation Vases of Nesi-chensu. 2^
in.
M
46
Two Amphora-shaped Vases. Alabaster.
One Vase. Onyx. y% in.
lYz in. and 3 in.
H W
46a Figure of Ptah as a pigmy, holding a cithern. Wood. 2 in.
H W
47 Part of a Ring. Lotus flower pattern. Blue glass inlaid with gold. 1 in.
H W
47a Cynocephalous Ape, crowned with moon-disk and uraeus, a pectoral on the
breast, seated on a palm-leaf capital, the colonette is broken off. Black
basalt. H. V>A in.
H W
48 Dagger, handle inlaid with ivory and wood. Bronze. L. 13 in.
H W
49 DAGGER, with a circle of ivory on the handle, partly broken away ; the blade
has a broad rib up its whole length, and the shoulder terminates in ducks'
heads upon each side. From Drah Abu'l Neggah. Bronze. L. 12^ in.
H P
50 Dagger, with flattened rounded pommel, plated with gold, the grip of silver
extending down the edges of the blade and upwards in four arms with
gold studs; leaf-shaped blade, of yellow bronze, of lozenge section.
L. 12^ in.
The Baroness Hirsch,
20
51 DAGGER, handle inlaid with ivory and mother-of-pearl. Bronze. L. 1 1 ^ in.
M G
52 Dagger, pierced handle, inlaid with ivory. Bronze. L. 15^ in.
M G
53 Dagger, the blade ornamented on both sides with flying bird and papyrus
From Tel-el- Amarna. Bronze. 12 in.
Walter L. Nash, Esq.
54 Axe Head ; the ornamentation, a dog attacking a gazelle, in open-work.
Bronze. XVIIIth Dynasty. L. 4% in. Belonging to Sir John Evans.
55 Axe HEAD, bearing the cartouche of King Ka-mes. Bronze. XVI Ith Dynasty.
H. 6 in. Belonging to Sir John Evans.
56 Spear Head. A bronze moulding at the end of the socket is ornamented with a
pattern and the cartouche of Ka-mes in gold inlay. The blade bears a band
of inscription in hieroglyphs in laudation of the king, together with a
representation of a hawk-headed lion having his paw on the figure of a
prostrate foe. Ka-mes was a King of the XVI Ith Dynasty, the husband of
Queen Ahhotpou ; it was with her mummy that the daggers represented
in Frame 24 were found. (See Archceologia, Vol. LI 1 1.) Bronze.
XVIIth Dynasty. Length of blade, 12^ in.; of the socket, 9^ in.
Belonging to Sir John Evans.
57 A Necklet, consisting of 25 conventional lotus flowers. Stamped gold.
University Coll: Edwards Col.
58 Two Bracelets ; strings of beads of carnelian, amethyst, lapis lazuli, crystal,
&c. ; blue faience ring of Amenhotep III. ; penannular rings in carnelian, &c. ;
gold earrings, &c.
University Coll: Edzvards Col.
59 String of Egyptian Glass Beads. Found at Thebes, in Bceotia.
H W
60 Ur^US. Gold. H. % in.
F P
61 Ring, with revolving bezel with the name of Amenhotep I. Gold. D. 1% in.
Liverpool Museum.
62 Pectoral, figures of goddesses stamped on. Gold. H. 1 in.
Case E.
1 Monkey, seated. Faience. H. 3*4 in.
Walter N. Nash, Esq.
2 Cynocephalus Ape, seated, holding a young one. Blue faience. H. 4}& in.
H W
3 Cynocephalus Ape, seated. Glazed ware. H. 31^ in.
F P
4 Ape, seated. Blue faience. H. 1 % in.
M
5 Figure of Man, with monkey's head. Blue faience. H. 2% in.
F P
6 Ape, seated, holding utchat. Green glaze faience. H. 1 % in.
F P
7 Sechet, seated upon a throne, with a bronze mask on her face. Blue faience.
Bubastis. H. 10 in.
H P
8 Upper Portion of Sechet. Blue faience. Roman period. H.4^in.
H W
9 Bes, standing on a lotus flower. Green faience. XXIInd Dynasty. H. 5^3 in.
H W
10 Ouadruple Bes. Green faience. H. 1% in.
F P
11 Bes, standing, with cornice and plumes on his head. Bubastis. Blue faience ;
has been gilded. H. 1 T/z in.
H P
12 Bes, squatting, with hands upon his knees. Bubastis. Blue faience. H. 1 {\. in.
H P
13 Head of Bes, from a vase. Blue and yellow faience. Ptolemaic. H. xy^ in.
F P
14 LiON, couchant. Blue faience, with yellow spots. Roman period. L. 3^5 in.,
H. iS/8 in.
F G
15 LiON. Blue faience. L. 3^ in.
M
16 LiON. Blue faience. Kahun. XI I th Dynasty. L. ij{ in.
22
17 Lion, couchant. Blue faience, yellow spots. Roman period. L. 3^ in.,
H. \Va in.
F G
18 Sphinx, wearing the Pschent, and holding a vase in front. Ptolemaic. Green
faience. H. 61/ in., L. 7 in.
H W
19 Ptah. Green faience. H. iSA in.
F P
20 Amen-Ra. Inscription on back. Green faience, has been gilded. Saitic
period. H. 5^ in.
W. Rome, Esq., F.S.A.
21 Nefer-atmu, walking, usual head-dress of lotus flowers. Green faience, tunic,
head-dress and plumes are blue. H. 4 in.
H P
22 Nefer-atmu, standing upon a lion. Yellow faience. H. 4 in.
H P
23 Nefer-atmu, the feet of the god, standing on a lion. Bubastis. Blue faience.
H. 1% in.
H P
24 ANHOUR, wearing short beard and wig, with two tall plumes and disk, also a
long garment. Green faience. H. 1% in.
H P
25 SHU, kneeling upon his right knee, raising up the disk. Blue faience. H. 2% in.
H P
26 Shu, wearing the plume on his head. Blue faience. Ptolemaic. H. 2^ in.
M
27 SliU, supporting the solar disk. Blue faience. H. \ 7/q in.
F G
28 SECHET or MENHIT, seated on throne, which is supported by winged hawks.
An anch at the back of the throne. Blue faience. H. 33.^ in.
M
29 Sechet, with a seated cat upon her head, lower part missing. Blue faience.
Der-el-Bahari. H. 2V2 in.
H P
30 Bust OF Sechet. Blue faience. Faded. H. 2}4 in.
F P
31 Bast, standing. Blue faience. H. 2% in.
F P
32 Sechet, seated, holding a sistrum. Blue faience. H. 2$4 in.
F G
23
33 Sechet, seated upon a throne. Blue faience. Thebes. H. if^in.
H P
34 Sechet, seated. Green faience. Saitic. H. 2\i in.
H W
35 Bast, with double feathers. Blue faience. H. I in.
F P
36 Sechet, lioness-headed, wearing a disk with uraeus in front, draped, holding the
sceptre with her left hand, and an anch in her right. Blue faience. H. 4}4 in.
F G
37 Thoth, ibis-headed, large head covering, arms pendent. Blue faience.
H. \iA in.
H P
38 Thoth. Green faience. Ptolemaic. H. $}£ in.
W. Rome, Esq., F.S.A.
39 Thoth, naked, with large wig, arms pendent, the toes of his feet are jackal-
headed. Beak is broken off. Pale blue faience. Ptolemaic. H. 5*4 in.
M
40 Thoth, walking, with the head of an ibis and large wig, tunic round its loins.
Whiteish faience, faded blue. H. in.
F G
41 Thoth. Blue faience. H. 4V. in.
M
42 Thoth. Blue faience. New Empire. H. 21A in.
H W
43 Thoth. Black faience. H. 3^ in.
F P
44 Thoth, holding the utchat or sacred eye, the legs and pedestal are modern
restoration. Blue faience. H. $}4 in.
M
45 Hawk-head Horus. Blue faience. XXVIth Dynasty. H. 4 in.
F P
46 Hawk-headed Horus, seated. Green faience. H. 2% in.
F P
47 Figure of a King, walking. Green faience. H. 3^ in.
F P
48 Head of a Man, with black patches of hair, apes on his shoulders.
Blue faience. H. in.
24
49 Upper part of the Figure of a Functionary. Blue faience. H. 2^ in.
F P
50 ISIS NURSING Horus. Brownish-green faience. H. 4^ in.
/. Travers Smith, Esq.
51 Isis nursing Horus. Blue faience. H. $H {n-
M
52 Bust of Isis. Green faience. XXVIth Dynasty. H. 3 in.
F P
53 Isis NURSING Horus, wearing the crown of Lower Egypt. Steatite, shows
traces of having been coloured. Saitic. H. 3^5 in.
W. Rome, Esq., F.S.A.
54 ISIS, seated, with fish on her head. Blue faience. XXVIth Dynasty. H. 3 in.
H W
55 Isis NURSING Horus. Blue faience. H. 2$A in.
56 Bust of a Figure of Isis. Blue faience. H. 2^ in.
57 Head of Isis. Pale blue faience. H. 2 in.
58 Bust of Isis. Green faience. H. 1 % in.
59 Isis NURSING HORUS. Green faience. Ptolemaic. H. 1^ in.
60 Hathor, cow-headed. Green faience. H. 1 ^ in.
T W
F P
F P
F P
M
FP
61 Triad of Isis, Harpacrat and Nephthys, walking hand-in-hand.
Green faience. H. 1 in.
H P
62 Triad of Isis, Harpacrat and Nephthys. Green faience. Thebes.
H. 1 in.
H P
63 Ptah-Patak. Green faience. XXVIth Dynasty. H. 3^ in.
F P
64 Ptah-Seker-Ausar, scarab on his head and serpents hanging from his mouth,
with Isis on his back. Blue faience faded. Thebes. H. 2% in.
HP
65 Ptah-Seker-Ausar, holding a figure of Ptah in front. Blue faience
Chebin-el-Kanatah. H. in.
H P
. 25
66 Ptah-Seker-Ausar. Blue faience. Bubastis. H. 3 in.
HP
67 Ptah-Seker-Ausar, standing, with a winged Bast behind. Blue faience.
XXIInd Dynasty. H. 2 in.
H W
68 Ptah-Seker-Ausar, standing upon crocodiles, with Isis on the reverse, and
Isis and Nephthys on either side. Green faience. XXIInd Dynasty.
H. 2 in.
H W
69 Ptah-Seker-Ausar, standing upon crocodiles, with a winged Isis on the
reverse, and a figure of Nephthys and Isis on either side. Green faience.
XXIInd Dynasty. H. ifo in.
H W
70 THOUERIS, hippopotamus-headed, with a black wig, standing with the
emblem of the " Buckle " in front of her legs, with tail of a crocodile.
Blue faience. H. ■$% in.
F G
71 THOUERIS. Green faience. H. 4 in.
M
72 Taurt. Pale green faience. New Empire. H. 2)4 in.
H W
73 Thoueris or Taurt. White faience, with yellow head-dress. XVIIIth
Dynasty. Thebes. H. i]4 in.
H P
74 Thoueris or Taurt. Blue faience. H. 2^ in.
H P
75 Nehebka. Blue faience. H. 1% in.
F P
76 KHNEMU, ram-headed. Green faience. Thebes. H. 1 fV in.
H P
77 KHNEMU, similar. Pale blue faience. H. 2% in.
H P
78 KHNEMU, similar. Grey-green faience. XXXth Dynasty. H. 1 in.
F P
79 Anubis, jackal-headed. Blue faience. H. 1 1/2 in.
H P
80 RA, hawk-headed, wearing pschent. Light green faience. H. ij/£ in.
H P
81 I-EM-HETEP. Green faience. Ptolemaic. H. 1% in.
T W
26
82 Crocodile. Blue faience, ornamented with green spots. Roman period.
L. szA in-» H- l3/i in-
F G
83 Crocodile, wearing plumes (lost). Inscribed with the name of Amen-Ra.
Green faience. L. 8^ in.
H W
84 Crocodile. Burnt brown faience. L. 2^ in.
F P
85 Crocodile. Blue faience. Ptolemaic. L. 2lA in.
M
86 Oryx, emblem of Ptah-Seker. Blue faience. Bubastis. H. \yi in. by 2^ in.
H P
87 Hare. Faded green faience. XXVIth Dynasty. L. I ^ in.
H W
88 Ram. Green faience. L. \% in.
F P
89 Ram. Blue faience. H. i$A in.
M
90 Cat and six Kittens. Green faience. H. i in.
F P
91 FROG. Crumb ware. Blue faience. Kahun. Xllth Dynasty. H. ^ in.
F P
92 Cow. Blue faience. XVIIIth Dynasty. H. % in.
F P
93 Cow. Yellow faience. XVIIIth Dynasty. H. }& in.
F P
94 Fore-parts of Bulls, joined. Drab faience. XXXth Dynasty. L. ^ in.
F P
95 Hawk. Faded green faience. H. in.
H W
96 Ibis. With a small figure of the goddess Maat in front. Blue faience.
XXVIth Dynasty. H. i in.
H W
97 Head OF Amen. Green faience. H. \]/2 in.
F P
98 Ptah-Patak, head of. Green faience. H. i^A in.
F P
99 Head of Horus. Green faience. H. 3/ in.
F P
100 Head OF Hathor. Green faience. H. i % in.
F P
101 Head of a Doll, with holes for hair. Blue and black faience. H. i in.
F P
102 Head of a Figure. Green glazed steatite. H. s/8 in.
Sir George Curtis Lampson.
103 Forepart of a Lion. Green faience. H. i V2 in.
F P
104 Lion's Head. Green faience. XXVI I Ith Dynasty. H. i]X in.
H W
105 Dwarf, holding a dog. Blue faience. Roman period. H. 2^ in.
M
106 Monster, a lion with ibex horns. Green faience. Ptolemaic. L. 2\i in.
M
107 Seven Figures. Blue and yellow faience. Roman. H. % in. to }& in.
F P
108 Crocodile, ram-headed. Blue faience. Roman. H. in. by 4.3^ in.
F G
109 SlSTRUM. A portion with head of Hathor, and an inscription on the handle.
Blue faience, faded. XXIIIrd Dynasty. H. 9^ in.
H W
110 SlSTRUM, upper portion. Green faience. H. jy& in.
M G
111 SlSTRUM, head of Hathor. Green faience. XXVIIth Dynasty. H. 2]/2 in.
F P
112 SlSTRUM, upper part with the head of Hathor. Blue faience. Belbcis.
H. 5^ in.
H P
113 SlSTRUM, portion with handle. Blue faience. H. 6}( in.
/. Travers Smith, Esq.
114 SlSTRUM, with handle, upon which is inscribed the name and titles of
Amasis II. Blue faience. Belbeis. XXVIth Dynasty. H. 10^ in.
H P
115 Head of Hathor, from a sistrum. XVIIIth Dynasty. H. \}{ in.
M
28
116 Vase, with small handle on each side. Blue faience, with black ornamentation.
Gurob. XVIIIth Dynasty. H. 6 in.
K
117 Bowl, with two spouts, for straining wine (?). Found at Thebes. Blue faience.
New Empire. H. in., D. $V in.
H W
118 Head of a Goat, which has formed a support to a bowl. Earthenware,
coloured blue. Tell-el-Amarna. XVIIIth Dynasty. H. 2^ in.
H P
119 Three Architectural Mouldings. Tell-el-Armana. Green faience
XVIIIth Dynasty.
H W
120 Vase, with small handle on each side; only one remains. Green glazed
earthenware ; has been burnt. Saitic period. H. $}i in.
H W
121 False-necked Globular Vase. Faded blue faience. New Empire.
122 Vase, of conical form, with handle at the side. Green faience. Ptolemaic.
H. p/z in.
M
123 Portion of a Capital. Blue faience. Ptolemaic period. H. 454 in.
H W
124 Vase, basket-shaped. Blue faience. H. \ V2 in. by 3 in.
H W
125 Patera. Blue faience. Roman period. D. 6^ in.
M
126 Fragment of a Base, with a row of vertical leaves round the edge.
Blue faience. Roman period.
H W
127 Figure of a Man playing the Harp. Blue faience. H. \S/8 in.
H W
128 Patera. Blue faience. Roman period. H. \}£ in., D. 6l/> in.
H P
129 Bowl. Blue faience. Roman. D. 6 in. by 2lA in.
H W
130 Vase. Blue faience. Late Roman period. H. 9^ in.
H W
131 Vase. Green glazed faience. Late Roman. H. $J/ in.
H W
29
132 Vase and Cover. Decorated with ornamental bands in green. Yellow
glazed faience. Late Roman. H. 4 in.
H W
133 Vase. Green glazed faience. Late Roman. H. 2Vi in.
H W
134 False-necked Vase. Blue faience. XVI I Ith Dynasty. H. 2yi in.
F P
135 Measure, in the form of a cup, with a ring handle. Ptolemaic. Thebes.
Greenish faience. H. 3 in., D. 3^ in.
H P
136 Capital. Blue faience. XVII Ith Dynasty. Gurob. H. 1% in.
FP
137 Vase, with globular base, and three handles. Blue faience. Saitic. H. 6 in.
M
138 Vase, situla-shaped, with two holes for handles. Green faience. XXVI th
Dynasty. H. 2 in.
H W
139 Stamp. At top, Anubis seated below nine captives. Blue glass paste. L. 2^ in.
M
140 Kohl Vase, with cover. Blue faience. Thebes. XVIIIth Dynasty.
H. iji in.
H P
141 Painter's Pallet, with four cups for colours. Blue faience. 3 in. by 2^ in.
FG
142 Cup, on a stand. Blue faience. Ptolemaic. H. 2^3 in.
M
143 Portion of a Throne, with decoration in relief. Blue faience. Ptolemaic.
H. 4^ in.
M
144 Model of a Table of Offerings. Blue faience. Ptolemaic period.
H. 2^ in., L. y/2 in.
H W
145 Stand, decorated in relief with three female figures in white. Blue faience.
Roman period. H. 3^ in.
H W
146 Unguent Jar. Blue faience. Roman period. H. 2^ in.
H W
147 Portion of a Rhyton. Originally blue faience. H. 3^ in.
H W
3°
148 Jug-shaped VASEj with black ornamentation. Faded green faience. H. 3^in.
H W
149 Pilgrim's Bottle. Black earthenware. Roman period. H. 4V in.
H W
150 Vase, with three small ring handles, one missing. Pink glazed faience. Late
Roman or Arab. H. 4}i in.
H W
151 VASE OR Jar. Brownish yellow glazed ware. Late Roman. H. 4^ in.
H W
152 KOHL Vase, composed of nine cylinders bound together. Blue faience.
XXIInd Dynasty. H. 4m.
H W
153 Elongated Vase, with rounded base. Blue faience with black ornamentation.
New Empire. H. SlA h").
K
154 BOX, of rectangular shape. Blue faience. L. 3^ in. by 1% in.
H P
155 Fragment, with the name of Queen Nefer-neferu-aten Neferti-iti, wife of
Khu-n-aten. Blue faience. XVIIIth Dynasty.
M
156 Piece of white glazed Earthenware, inlaid with blue and yellow.
XXth Dynasty. L. 4^ in., W. 3 in.
M G
157 TlLE, for inlay, with the cartouches of Seti II. Light blue faience.
XlXth Dynasty. 2^ in. square.
M
158 Cylinder. Blue faience. XXVIth Dynasty. H. \ l/> in.
H W
159 Cylinder. Blue faience. XXVIth Dynasty. H. 2 in.
H W
160 Medallion. On one side, in relief, is a symbolic eye, on the other, the head
of Bes. Green faience. Ptolemaic. D. 3 in.
H W
161 Portion of fluted Bowl. Blue faience. New Empire. H. i}4 in.
H W
162 Plaque, with the head of Hathor, in relief. Faded blue faience. Saitic period.
3i
163 Lamp feeder, globular form. Blue fai'ence. Roman. H. 2% in.
H W
164 Vase, with spout. Blue fai'ence. Roman period. H. 2 in.
M
165 Fragment of a Vase or Stand, with two Cupids in relief. Faded
blue faience. Roman period. H. 2 3/ in.
H W
166 Portion of a Capital. Blue faience. Ptolemaic period. H. i in.
H W
167 Portion of a Vase, decorated with figures in relief. White faience.
Ptolemaic. H. 51/ in.
H W
168 Portion of a Throne (?), with the head of Bes and lions. Faded
blue fai'ence.
H W
169 Male Figure, probably portion of a group. Faded blue fai'ence. Second
century A.D. H. 2 3/ in.
H W
170 Vase, pear-shaped, neck broken off. Green glazed fai'ence. H. 33/ in.
H W
171 Bowl, decorated with animals, birds, fishes and flowers, in relief. Blue fai'ence.
XXIInd Dynasty. D. $% in.
172 ARYBALLOS. The neck is supported with two heads of the Oryx, with New
Year's wishes on the bands on the sides. Originally a pale green.
H. 6 in.
S. E. Kennedy, Esq.
173 Small Bowl. Blue faience. Ptolemaic. D. 3^ in.
M
174 ARYBALLOS, oblate and compressed, with convex sides, slender neck, below
which is a collar moulded upon it. Upon the broad bands on each side of
the neck is inscribed " Wishes for a happy new year." Attached to the
neck are handles in the form of cynocephali. Green fai'ence. Saitic. Der-
el-Bahari. H. 6^ in., D. 5 in.
H P
175 ARYBALLOS. Similar. Pale blue fai'ence. H. 5 j£ in.
M G
176 Vase of elongated form, and rounded base. Green fai'ence. Ptolemaic period.
H. 33/ in.
32
177 Vase, pear shaped, round the shoulder is a line of hieroglyphics, which do not
read. Blue faience. Ptolemaic. H. 21/ in.
H W
178 Vase, of amphora shape. Blue faience. Ptolemaic. H. 2}4 in.
H W
179 Portion of Statuette of Rudamen. Green faience. XXVIIIth Dynasty.
H. 3 in.
F P
180 Circular Plaque, with spider-web ornament. Blue faience faded. D. 2]/2 in.
Liverpool Museum.
181 Tile FOR Inlaying, a crowned human-headed lion, with wings. Blue
ground. Glazed faience. Size 23^ in. square. Koptos.
F P
182 Duck. Blue faience. Ptolemaic period. L. 2^ in.
H W
183 Small Pot, containing the remains of scent. Roman period. D. in.,
H. #-in.
M
184 Vase for Ointment. Blue faience. H. 1 1/% in.
M
185 Vase for Ointment. Blue faience. H. 1 in.
M
186 Portion of Column. Blue faience. Ptolemaic period. H. in.
H W
187 Patera. Blue faience. Roman period. D. 6% in.
M
188 Vase for Ointment. Blue faience. Roman. H. i}& in.
H W
189 Cup. Light blue faience. D. 2^ in.
H W
190 Cup. Green faience. D. 3}4 in.
F P
191 Patera. Blue faience. D. 6V2 in.
M
192 Patera. Blue faience. D. 6V2 in.
M
33
Top Shelf.
1 Head of a Woman. The flesh white, the hair painted black, the eyes are
glass. H. 8 in.
H W
2 Head of a Woman. The flesh is white, the hair, which descends in ringlets
over the breast, with a line of curls round the forehead, is painted black,
the eyes are painted. H. io}£ in.
M
3 Head of a Bearded Man. The flesh is painted red, the hair black, the eyes
are glass. H. 9 in.
M
4 Head OF A WOMAN. The flesh is white, the hair is black, the eyes are painted,
the lips tinted red ; she wears a wreath, painted rose colour. H. y}4 in.
H W
5 Head OF a Woman. The flesh is painted the natural colour, the lips are
tinted, the hair, which has small curls round the forehead and bands behind,
is black, the eyes are glass. H. 12 in.
H W
6 Head of a Girl. The flesh is white, the hair is black, the eyes are painted.
H. 8/2 in.
H W
7 Head OF a Man. Face and hair gilt, glass eyes. H. gV-> in.
H W
8 Mask of a Bearded Man. Pale-coloured flesh, the hair is black, the eyes
are painted. H. 7]^ in.
M
9 Head OF A Boy. Flesh painted red, the hair is black, the eyes are glass.
H. u}4 in.
M
10 Mask of a Young Man. Pale flesh colour, the eyes are painted, the hair is
black. H. 71^ in.
M
11 Head of a Man. Curtonage. From a mummy case. Ptolemaic. H. 13^ in.
H P
The above, except No. it, are in plaster. They date from the 1 stand 2nd Centuries,
and are said to come from Meir, in Upper Egypt. It is also stated that some have been
found at Melaui and Balansourch, both in Upper Egypt.
Paintings over the Mantelpiece.
1 A Harper, bands of ornamentation above and below. Painted in tempera on
stone. From a tomb at Thebes. Late XVIIIth or XlXth Dynasty.
H. 223/( in.
Ralph Bankes, Esq.
34
2 Portrait of A young Man. White robe crossed with a purple band. Painted
in wax on wood. H. 1 5 in.
K
3 Cast in bronze of a Head, from the original, in green basalt, in the Berlin
Museum (Berlin Catalogue, 12500). H. 8j{ in.
H W
4 Portrait of a Woman wearing a necklace and ring-earrings, hairpin ; the
robe purple. Painted in wax on wood. H. 14 in.
K
5 Portion of Scene from a tomb of an Egyptian official of the XVIIIth Dynasty
in Syria ; executed by a Phoenician artist in imitation of Egyptian work.
L. iSy2 in., H. ?}4 in.
K
6 Portrait of a Bearded Man. H. 121/ in.
T W
7 Portrait of a Woman wearing a golden wreath, necklets and pearl pendant
earrings, red dress. Painted in wax on wood. H. 13^ in.
K
8 Portrait of a Bearded Man in white tunic crossed by a band with gold
ornaments, and purple robe. Painted in wax on wood. H. 1$% in.
M
9 Portrait of a Woman with necklace and ball earrings, dark red dress.
Painted in wax on wood. H. 14^ in.
University Coll : Edwards Col.
10 Trial Piece of an artist in inlaying precious stone in wood ; fifty-three various
hieroglyphs and objects carved in a wooden slab and inlaid with coloured
stones, each named, agate (khenem), carnelian (Jierdes), green felspar (neshnes),
lazuli (kkesbed), &c. Name of Setyl at end. L. 1 5 in., H. 9^ in.
11 Portrait of a Woman wearing double pendants, gold necklace, robe purple.
Painted in wax on wood. H. 14 in.
F P
12 Copy of the Picture of Geese, from the tomb of Nefermaat, at Meidum.
IVth Dynasty. Copied by Mrs. Goodison. L. 61 in., H. 9 in.
Mrs. Goodison.
Nos. 2, 4, 6, J, p, 11, were fozind by Professor Petrie in excavations at Hazvara.
13 Copy of the Portrait of a Lady called Aline, found on her mummy at
Hawara, together with the mummies of her husband and children ; of these
some have painted portraits, others masques in plaster. 2nd century A.D.
(See " Antike Denkmdler herausgegeben vom Kaiserlich Dentsclien Arclice-
logikher Tnstitut." Chromo lithograph by Rudolf Steinbock, Berlin.
H. l$y2 in.
Royal Berlin Muse inn.
35
14 Frame of Textiles.
1. Square panel of woven tapestry in variously coloured fine threads.
Within a scarlet frame is a demi-figure of Hermes holding the caduceus in
one hand and a purse in the other. Round his head is a nimbus. His
name is indicated in Greek characters, E. P. M. Hc. From Akhmim.
Roman period. 1st century A.D. 6^ in. square.
2. Fragment of woven tapestry in different coloured wools. It probably
represented a figure of Orpheus. 1st century A.D. 7 in. by 4^ in.
3. Square panel of woven tapestry in various colours, in the centre of
which is a demi-figure of Apollo with his lyre. Part of his name is indicated
in Greek characters at the side of the nimbus. 1st century A.D. From
Akhmim. 6 in. square.
4. Square panel of woven tapestry, upon which is the head of a youth
wearing a tunic and shoulder roundels. Roman period. 1st or 2nd century A.D.
Akhmim. 8% in. by 8 in.
5. Square panel of woven tapestry in variously coloured wools, repre-
senting the head of a woman. Roman period. 1st or 2nd century A.D.
Akhmim. 8*4 in. square.
6. Square panel (fragmentary) of tapestry in variously coloured wools
of fine threads, in the centre of which is a partridge and a tree. Roman
period. 1st to 2nd century A.D. Akhmim. 8l/>, in. square.
7. Square panel of woven tapestry, representing a quail (?). The
panel is stitched on to a piece of plain linen. Roman period. 1st to 2nd
century, A.D. y}4 in. square.
South Kensington Muse inn.
( The above are exliibited as examples of the technical method of more ancient times.)
Frame 15 Fragment of a tainted Frescoe from a Mastaba or tomb, supposed
to date from the reign of Senfru. Illrd Dynasty. Medum.
South Kensington Museum.
Frame 16 Piece of ornamented coloured wood, in the form of a pylon ;
probably one of the ends of a hawk box. Ptolemaic. H. 13^ in. by 10 in.
South Kensington Museum.
Frame 17 Door OF A Cabinet, upon which is painted the figure of a seated woman
and Jackal. It is interesting as showing the manner of fastening on the
bolts. Wood, painted in distemper. H. 15 in. by 11 in.
South Kensington Museum.
Frame 18 Square Panel of Woven Tapestry in various colours. In the
centre is a medallion representing a man on horseback, with a hare
beneath. The panel is sewn on to a piece of fringed linen. Roman period.
1st to 4th century A.D. 171^ in. square.
South Kensington Museum.
(This also is exhibited as showing a more ancient technique.)
36
Frame 19 Tablet OF Nesikhonsu. Wood painted. XXIst Dynasty. H. 16 in.
University Coll: Edwards Col.
Frame 20 Fragment of A Frescoe from a Mastaba or tomb. Illrd Dynasty.
From Medum.
South Kensington Museum.
Frame 21 Mummy wrapping, a portion of the covering of a Graeco-Egyptian
mummy, with a portrait of a female dressed conventionally, with various
amulets depicted upon it. A large scarab over the head, and gods arranged on
on its sides. Linen. Ahmim. ist century A.D. H. 3 ft. 10 in. by 2 ft. 10 in.
H P
Frame 22 Two sheets of Chromolithographs representing the jewellery, &c,
found by M. de Morgan at Dashour, 1894.
Frame 23 Two sheets of Chromolithographs representing the jewellery
found by M. de Morgan at Dashour, 1894.
Frame 24 A Drawing of Three Daggers, from the Ghizeh Museum. The
originals were found in the mummy of Queen Ah-hot-pou (of the XVI Ith
Dynasty), the mother of Aahmes, the first King of the XVI I Ith Dynasty.
Frame 25 A Drawing of Three Tiles, from wall decoration at Tell-el-
Amarna discovered by Professor Petrie.
Frame 26 A DRAWING OF A Bowl. The inscription contains a cartouche of
Ramses II. The original is in the British Museum.
Frame 27 A Drawing of Five Heads from tiles modelled in relief and painted,
from the Pavilion of Ramses III., at Tell-el-Yaoudeh, in the Delta. The
originals were acquired by the late Rev. Greville Chester for the British
Museum.
Frame 28 A DRAWING OF A Vase, of Naucratis pottery, from the Athens Museum.
Frame 29 A Drawing of Two Hippopotami, found in a tomb of the Xlth
Dynasty, from Ghizeh Museum.
Frame 30 A Drawing of Pottery and glazed Schist, from Ghizeh Museum.
It contains a representation of the celebrated Ushabti figure of the XXth
Dynasty.
Frame 31 A Drawing of a Painted Vase, in which was deposited the mummy
of an Ibis. The original is in the Ghizeh Museum.
37
Case F.
WOOD.
1 FIGURE of a Priest, or functionary wearing a round, short wig, and a full
fronted tunic round his loins. Wood. Sakkarah. Vlth Dynasty. H. 12 in.
H P
2 Hawk, with disk, in the attitude of "hovering." Roman period. Wood.
Painted. H. 6 in.
J. Tr avers Smith, Esq.
3 Figure of a Priest, or functionary with shaven head, wearing a tunic, with
a full fronted tunic round his loins. Wood. Sakkarah. Vlth Dynasty.
H. 12 in.
H P
4 Head of a Hawk. Wood. H. 1 % in.
F P
5 Couchant Lion. Wood. L. 3% in.
F P
6 Crocodile. Wood. L. 3^ in.
F P
7 Figure of a Man, standing, holding baskets (?) in his hands. Wood.
XXth Dynasty. H. 5^ in.
F G
8 Wooden Statue, found in the tomb of Prince Emsah, together with the
soldiers now in the Gizeh Museum. Assiout. Xllth Dynasty. H. 25 in.
M
9 Figure of Ara, a lady of the house of Pepi, wearing a large full dress. Wood.
Vlth Dynasty. H. 7^ in.
F G
10 Anupt, seated with atef crown, and bow and arrow. Wood. H. 1 ]A in.
H P
11 Anpu. Wood. Illahun. H. 1 % in.
F P
12 ANUPT. This goddess, a form of Hathor, probably symbolized the Dawn or
the Evening Twilight, and is a feminine form of Anubis. Figure standing,
jackal-headed, with long head attire, a garment reaching to her ankles,
holding in front of her a " tat." Plinth behind, which is perforated. Dark
coloured wood. Sakkarah. H. 2]/2 in.
H P
33
13 Figure of a Functionary, standing, wearing a short black curly wig, clad
in drapery of flax linen over his shoulders, and tunic of coarser material.
Sakkarah. Vlth Dynasty. H. II in.
H P
14 Apuat, kneeling, with right hand raised to the eye. Ebony. H. 2^ in.
M G
14b Anupt. Ebony. H. i^A in.
M G
15 Osiris. Wood. H. n>A in.
F G
16 Cat. Wood. Illahun. Xllth Dynasty (?) H. i in.
F P
17 FIGURE OF A BAKERESS, kneeling, kneading dough upon an oblong stone.
Wood. Ahmim. Vlth Dynasty. H. 7 in.
H P
18 Kohl Pot, 5 tubes, inscribed with the name of the scribe Atef, and the medicine
for the eye disease called dapet. Wood. H. 3^ in.
F G
19 Head of a Vulture. Hawara. Wood, glass eyes. L. y/2 in.
F P
20 Hittite Harper. Gurob. XlXth Dynasty. Wood. H. 1% in.
F P
21 Figure of a Functionary. Wood. H. \o% in.
Walter L. Nash, Esq.
22 Head of a Lioness. Wood, gilded. H. 1% in.
F P
23 Figure. " Royal offering to Osiris," the great god for the Ka of (the lady)
Taia. Wood. H. 9^ in.
24 Figure of a Lady of the House Henuttaui, on a pedestal, wearing a
large wig, with gilded collar on her breast. There is a Suten-ta-hetep
dedication on the pedestal. XVIIIth Dynasty. Hardwood. H. 1 1 in.
F G
25 Upper Part of the Figure of a Man Holding a Stick. Probably
Xllth Dynasty. Wood. 3% in.
M
26 Part of the Handle of a Spoon, formed of the head of a goddess.
Wood. H. 3}i in.
F P
39
27 Figure of a Man carrying a Vase upon his back, which has been used for
Kohl. Wood. XVIIIth Dynasty. H. 8*4 in.
Liverpool Museum.
28 Draughtsman, with head of a lion. Wood. Thebes. H. i in.
H P
29 Draughtsman, with the head of a lion. Wood. Thebes. XVIIIth Dynasty.
H. 1% in.
HP
30 Figure of a Boy, named Amenhetep, made by his father Nefer and his
mother Mes. Wood. XVIIIth Dynasty. H. I0>£ in.
Liverpool Museum.
31 Figure of a Boy, named Neb-res, made by his father Nefer and his mother
Mes. Wood. XVIIIth Dynasty. H. io>^ in.
Liverpool Museum.
32 Small Head of Mummy Case. Face gilded, beard and wig painted black.
Wood. H. 7 in. by S}4 in.
M
33 Wooden Box, or Casket, with a sliding lid, intended to hold some object for
the toilet. Gebalayn. (1507). H. 2r\ in. by iTV in.
H P
34 Figure of Osiris, with pedum and flagellum. Wood. H. 7 in.
K
35 Hawk, from Thebes. Wood painted. H. 8^ in.
Rev. Herbert Wilson.
36 A Pair of Castanets, with Hathor head, lotus column, and hand pierced.
Ebony. L. 61/ in.
T W
37 Castanets. Two pairs, in the form of hands, carved with the head of Hathor
upon a lotus flower. Upper Egypt. XVIIIth Dynasty (?). Wood. H.4^§in.
H W
38 Bowl, with rams' heads at sides. Wood. D. $14 in.
FP
39 Hawk, or Soul, human headed. Wood, painted. Thebes. H. in.
H P
40 Ushabti of a high legal official at Thebes, named Mai, large wig, plaited
beard, the eyes and eyebrows are of glass. It has a horizontal line of
hieroglyphics and two vertical lines in front containing a version of the
Vlth Chap, of the Book of the Dead. Cut out of a fine hard wood. H. 16 in.
H P
4o
41 Coffin, of the ushabti figure of Mai. Wood. XVIIIth Dynasty. H. 18 in.
H P
42 Kohl Vase, in the form of a lotus flower column with square lid, and button
for fastening. Wood. Ahmim (1470). H. 2M in.
H P
43 Bottle. Wood. H. 3 in.
H W
44 Stamp, for marking bricks. Wood. Vlth Dynasty. Sakkarah. H. 2}i in.
H P
45 Model Dagger. Wood painted. Lahun. L. 12 in.
F P
46 Pillow, inscribed " Guarded by Anion, my sepulchre, Neb Nuteru, second life."
Wood.
Mrs. Goodison.
47 Stela of the Chief Scribe of the House of Amon T'Men-tefa-aukh. Wood,
painted green on white ground. H. 9^ in. by 6 in.
Walter L. Nash, Esq.
48 Part of upper part of Pillow, decorated with figures of Bes. Wood.
H W
49 Royal Cubit of the judicial functionary Nanay. XlXth-XXth Dynasty.
Wood. L. 20$/$ in.
Liverpool Museum.
50 Label. Wood. 3 in.
51 Beard from a Mummy. Wood, inlaid with glass and gum. Gilt.
T W
52 Box, in the form of Pylon, surmounted by hawk with disk and plumes.
Painted wood. H. 25 in.
Walter L. Nash, Esq.
53 Figure of A Priest, with leopard skin over shoulder, flesh red, dress white.
Wood. H. 6 in.
M
54 VULTURE. Roman period. Wood, painted. H. 5^ in.
H P
55 Model Hoe, Pick and Spade. Wood, spade with bronze blade.
T W
56 Gazelle. 3 legs missing. Meir. Wood. L. 21/ in.
F P
4i
57 Model of a Sepulchral Boat, carrying the coffin ; behind it is the Ka ;
a man and woman upon each side, and three men to manage the boat.
Xllth Dynasty. Meh. L. 20% in.
HP
58 Female FIGURE, walking, carrying on her head a box inscribed, and holding
in her right hand a duck, preceded by a calf. Inscription : " The Royal
" Chief (or Treasurer), the intimate friend, the Chief, the Royal Prophet,
" the justified Ouhapa." Found at Meh. Vlth Dynasty. Wood, painted.
H. 17^$ in.
M
59 Toilet Box, in the form of a duck, the wings form the cover of it. Wood,
painted. L. 6}( in.
F G
60 Wooden FIGURE, feet wanting. XVI I Ith Dynasty. Accacia wood. H. io}4 in.
Walter L. Nash, Esq.
61 NEPHTHYS, figure kneeling upon a pedestal, wearing the usual head-dress, with
the right hand up to the face, whilst the left is resting upon her knee. The
flesh is coloured yellow. Upper Egypt. Wood, painted. H. 14^ in.
H P
62 Ur^EUS, crowned with disk. Wood, inlaid with porcelain. H. 23/ in.
H W
63 Figure of a Man. Wood. H. 15 in.
F P
64 Head of Set, from a spoon. Wood. H. 2 in.
F P
65 Figure of a Man. Wood. H. 93^ in.
F P
66 Hawk. Wood, painted in red, yellow and blue.
M
67 Boat, with duck's head and outspread wings on the bow. Hawk's head at the
stern. A canopy with seated figures, and a mast. A cartouche, with the
prenomen of Thothmes III. on the side. Hard-wood, painted. L. 27 in.
Walter L. Nash, Esq.
68 Two SAILORS from a large boat, one standing, the other sitting. Wood.
M
69 Hawk, white with blue back. Der et Bahari. Wood. H. 7 in.
H P
70 Nephthys, kneeling, weeping. Wood, painted. H. 1 1 % in.
M
42
71 ISIS, kneeling, weeping. Wood, painted. H. 13 in.
72 Two Dowells. XlXth Dynasty. Wood.
M
73 USHABTI Box belonging to the " Singer of Amon Ta-neb-ma." Wood, painted.
H. iiV2 in.
T W
74 Wooden Vase, turned on the lathe. XlXth-XXth Dynasty. Wood.
H. 3U in-
F P
75 Model of a Sepulchral Boat, carrying the coffin ; behind it is the Ka ;
a man and two women in front ; and men to manage the boat. Wood, painted.
L. 32 in.
VV
Case G.
All the objects in this Case are contributed by Dr. Fouquet, of Cairo.
1 THRONE for a divinity. Supported on either side by a lion ; on the back is a
vulture with outspread wings ; on either side, a uraaus. Inscription on base:
" Says the great lord of heaven, Harpakrat: — I give life, health and perfect
" prosperity, together with a long and happy old age to Unnefer, son of
" Ta-turt and of the lady Ta-du-tasar." (These names belong to the early
part of the XXIst Dynasty.) Bronze. XXIst Dynasty. L. 9^ in., H. ?}4 in.
2 Throne of the child Khonsu, called Hapimanu. The back is rounded, formed by
a vulture with outspread wings, the arms are supported by two standing lions.
Bronze. L. 4^ in., H. 4^ in.
3 Recumbent Lion. A handle placed on the back suggests the Assyrian weights,
the style, however, is Egyptian, and the design may be compared with the
lions represented in the tomb of Seti I. Bronze. L. 4^ in.
4 LlON, walking. Formerly gilt, the base was hatched and the body pointed in
order to hold fast the gold, which has fallen away under the influence of
humidity. Bronze. H. 2^ in.
5 Lion's Head. The mouth is open and the teeth exposed, the neck finishes with
a ring. The rectangular plaque beneath shows several dulled points. Bronze.
H. 2 in.
43
6 LlON, seated. He holds between his paws a vase for offerings. Marble, encrusted
with turquoises. H. 6 in.
7 VASE for offerings, with a lion standing beside it. The eyes of the animal are
encrusted in white paste ; the collar and the stripes on the haunches were
encrusted with turquoises. Compare with No. 1 i, Case O. Steatite. H. 6% in.
8 Recumbent Lion, the fore-paws crossed. Bronze. L. 8)4 in.
9 Cup, with two recumbent lions on the edge. Bluish-green colour. Compare with
Cups in Case M, Division xiv. Faience. D. 5 in.
10 Statuette. Representing a man kneeling, and holding a Naos between his
arms ; within the Naos, a standing figure of Ammon, crowned with the two
feathers. Schiste. XVII Ith Dynasty. H. 5^ in.
11 ISIS. The goddess is crowned with horns, and with the wings extended in front.
Found at San-el-Hagar. Bronze. Saiitic. H. 8^ in.
12 AMMON AND Maat, seated. The feathers of Ammon are missing. The
resemblance existing between this work and No. 183 in the Ghizeh Museum
(group made by order of Set I.) suggests that it is of the same period.
Serpentine. XlXth Dynasty. H. 6}4 in.
13 Statuette of a Woman. She is represented standing, dressed in a tunic
and wearing a wig, the curled tresses falling on her bosom. Inscribed :
" Offered to Osiris, in order that he may bestow the funeral offerings to
" Atef-irit-Maoules." Soft stone. XlXth Dynasty. H. 6yi in.
14 Head of Ammon. Portion of a statue. The head-dress and feathers are
apparently unfinished. Found at Thebes. Black granite. H. S}( in.
15 Toilette Box for Perfumes, in the form of a gazelle. Wood.
XlXth Dynasty. L. 9 in.
Nos. 1-9 are from the find of Kom-es-Sabaa, the Lion's Hill, discovered by
fellaheen in February, 1884. The find consisted of more than one hundred and
tzventy objects, of which Dr. Fouquel secured thirty. The objects were, doubtless,
ex-votos, originally belonging to a temple dedicated to a divinity symbolized by a lion.
The origin of the temple is tmknoivn, it probably dates from an early dynasty, a ud, as
may be seen from the objects, lasted until the Ptolemaic period. Kom-es-Sabaa is in the
neighbourhood of the ancient city of Tanis.
44
Case H.
1 Inlay. Symbolic left eye. Blue glass. H. 7/& in.
2 Inlay. Anubis, in form of a jackal. Dark blue glass. H. 7/q in.
3 Inlay. Tat. White glass. H. i% in.
4 Inlay. Tie of a buckle. Blue glass. H. in.
5 Inlay. Anubis, jackal. Black glass. H. 7/& in.
6 Inlay. Tie of a buckle. Blue glass. H. in.
T W
T W
T W
T W
T W
T W
7 Genii OF Amenti, Tuamautef, Mestha, and Hapi ; 4 figures White faience,
with coloured heads. H. $}4 in.
8 Inlay. Triangular object. Blue glass. H. i}£ in.
9 Inlay. A shrine. Yellow glass. H. i}i in.
10 Inlay. Symbolic right eye. Blue glass. H. ^ in.
11 Inlay. Soul. Red glass. H. 1 in.
12 Inlay. Buckle or tie. Blue glass. H. 1% in.
13 Inlay. Feather. Blue glass. H. iy& in.
14 Inlay. Anubis. Blue glass. H. \y2 in.
15 Inlay. Human4ieaded hawk or soul. Red glass. H. i}i in.
16 Inlay. Scarab. Blue glass. H. \% in.
17 Inlay. Human-headed hawk. Blue glass. H. i}i in.
18 Inlay. Heart vase. Red glass. H. 1 in.
M G
T W
T W
T W
T W
T W
T W
T W
T W
T W
T W
T W
45
19 Inlay. Isis in attitude of weeping. Blue glass. H. in.
20 Inlay. Uraeus. Blue glass. H. i% in.
21 Uati. Red carnelian. H. in.
22 Osiris. Blue glass. ■ Ptolemaic. H. 2^ in.
23 Thoth. Blue glass. Ptolemaic. H. in.
24 Ptah-Seker-Ausar. Blue glass. Ptolemaic. H. \7fa in.
25 Nephthys (?) kneeling. Blue glass. H. i % in.
T W
T W
T W
M
M
M
T W
26 Head of Bes. Pierced for suspension. Green faience. H. 3% in., W. lji in.
M G
27 Model of a Finger Ring. Inscribed "Amen, Lord of the two countries."
Green faience.
H W
28 Model of a Finger Ring. Thotmes IV. Blue faience. XVIIIth Dynasty.
H P
29 Model of a Finger Ring. Blue faience. XXIInd Dynasty.
H W
30 Model of a Finger Ring, with a scarabeus in brown on the bezel. Green faience.
XVIIIth Dynasty.
H P
31 Model of a Finger Ring. Open-work. Green faience. XXVIth Dynasty.
H W
32 Bead, bearing the cartouche of Shabaco. XXVth Dynasty. L. 2}i in.
H W
33 Model of a Finger Ring, with gazelle in relief. Red faience. XVIIIth
Dynasty.
H W
34 Model of a Finger Ring. Inscribed "Amen-Ra, lord of." Blue faience.
XVIIIth Dynasty.
H W
35 Tat, surmounted with the atef crown and a sceptre on either side. Inscribed
" Lady of Thebes, Giver of Life." Blue faience. H. 2*4 in., W. I in.
M G
46
36 Model of a Finger Ring. Open-work. Blue faience. XXI Ind Dynasty.
H W
37 Model of a Finger Ring, with a ut'at. Blue faience. XXIInd Dynasty.
H P
38 Model of a Ring, with a Menat and Aegis of Bast in relief. Faded green
faience. XXVIth Dynasty.
H W
39 Model of a Finger Ring, with a fish on the bezel. Blue faience.
XlXth Dynasty.
H P
40 Model of a Finger Ring, in open-work. Blue faience. XlXth Dynasty.
H W
41 Papyrus Sceptre. Blue faience. XXVIth Dynasty. H. 3 in.
H W
42 Left Eye of a Bull. Glass and composition. L. 3^ in.
M G
43 Combination of Twenty Eyes. Blue faience, with black slip. H. \)/2 in.
M
44 Symbolic Eye, bifrons. Above the eye is a lion couchant. Blue faience.
H. 1 5/q in. by 13/ in.
H P
45 Symbolic Eye. Blue faience. H. 1^ in., L. 234; in.
M
46 Buckle Tie of Isis. Blue faience, with yellow slip. Roman period. H. 2% in.
M
47 Tat. Blue faience. H. 4^ in.
M
48 Buckle OR Tie, inscribed with the 156th Chap, of the Book of the Dead
Red Jasper. H. 2}& in.
M G
49 Symbolic Eye. Open-work. Blue faience. L. 2^ in.
M
50 Pectoral. A procession of six goddesses, with similar reverse. Blue faience.
L. 2 in., H. ij4 in.
Sir George Curtis Lampson.
51 Symbolic Eye. Blue faience. L. 2%i in.
TW
47
52 Symbolic Eye, on a plaque. Pierced work. Blue faience. H. in.
T W
53 Symbolic Eyes. Double. Blue faience. L. i in.
H W
54 Maat, seated in front of a large hawk. Lapis lazuli. H. i}& in., L. in.
MG
55 Left Symbolic Eye. Wood. L. i% in.
TW
56 Symbolic Eye, right, engraved, loop on the top. Dark green stone. H. in.
by 7A in.
H P
57 Symbolic Eve, right, with loop on the top. Haematite. L. ^$ in.
H P
58 Symbolic Eye, right, convex. Red carnelian. H. i^j in. by \ 7/& in.
H P
59 Symbolic Eye. Blue faience. H. i% in., L. i^in.
M
60 Sam Sceptre. Haematite. H. \}i in.
H P
61 Counterpoise of a Collar, or Menat, inscribed with the cartouche of
Psammetichus, of the city of An-t (Caenopolis). Green faience.
XXVIth Dynasty. H. 4^ in.
H P
62 Heart. Crystal. H. 1 in.
H P
63 Symbolic Eye. Blue faience. L. 1^$ in.
H W
64 Symbolic Eye, right, loop on the top. Granite. Sakkarah. H. \ }i in. by ^ in.
H P
65 Combination of Four Symbolic Eyes, with a bolt in green between them ;
on the reverse, a right eye. Faded blue faience. Thebes. H. 1^ in. by
iji in.
H P
66 Symbolic Eye, right, in fine polished blue glass, with black pupil.
H. 1 in. by xyi in.
H P
67 Inlay. Right eye. Blue glass. H. i}i in.
T W
48
68 Disk, of mirapore glass. Green.
H P
69 Cylinder, of mirapore glass.
H P
70 SCARAB/EUS. Red carnelian. L. I in.
F G
71 Winged Scarab. Blue faience. H. \}i in.
F G
72 Duck, black glass, with white bands. Thebes.
H P
73 Pendant. Blue faience. Ptolemaic. H. 2l/z in. by in.
M
74 FlSH, the oxyrhynchus, wearing the horns and disk, with a urseus in front. It is
probably an emblem of Hathor. Bronze. L. 4 in.
H P
75 Pendant, square, with figure of Bes with many attributes, and a procession of
animals in an oval formed of a snake with his tail to his mouth beneath.
Blue faience. H. 2 in.
M G
76 Fish, of eel form, upon a pedestal, pierced. Steatite. Thebes. L. i}( in.
H P
77 Bead. Head of a ram. Glass. Sakkarah.
H P
78 Bead, in the form of a man's head, black hair and beard, yellow face, black spot
on forehead. Glass.
H P
79 DUCK, with its head turned under its wing. Variegated glass. Perforated.
Thebes. L. 7/& in.
H P
80 ROUNDELL FOR INLAYING, ornamented with a rosette. Glazed earthenware.
Erment. D. i}£ in.
H W
81 Symbolic Eye, bifrons, plain. From Ahmim. Green felspar. L. J& in. by ^ in.
H P
82 Symbolic Eye, bifrons, plain. From Ahmim. Amethyst. L. y% in. by ^ in.
H P
83 SYMBOLIC Eye, right, with details marked out in black slip. From Sakkarah.
Blue faience. L. i}i in.
H P
49
84 Rectangular Plate, with a right utchat upon it, in the pupil is Ptah-Seker-
Ausar, and an ibis is walking up the drop of the eye. From Bubastis. Blue
faience. H. 1% in. by iV* in.
HP
85 Symbolic Eye, bifrons, with black brow and pupil. Open-work, with two rows
of cynocephali emblems of Thoth. Blue faience. Thebes. H. 1^6 in.
by 2% in.
H P
86 SCARAB/EUS. Black faience, with wings of original bead work. L. 8 in.
H P
87 Right symbolic Eye, brow and pupil black, the tunic is inlaid with yellow
glass, instead of the usual drop it rests upon the legs of a hawk, with
outspread wing behind and an erect ura;us in front. Green faience.
H. 2 in. by 21/% in.
H P
88 Symbolic Eye. Blue faience. L. 2V2 in. by 2% in.
F G
89 Symbolic Eye, bifrons. Open-work. Gold. L. 1 V2 in.
H P
90 Symbolic Eye, right. Green glass. H. Ji in. by ili in.
H P
91 Symbolic Eye, bifrons. Pupil incised. Red jasper. L. i/s in. by ^ in.
H P
92 Heart-shaped Amulet, inscribed "Royal scribe of the offering table Remen."
H. yA in.
H P
93 Heart-shaped Amulet. Variegated glass. H. $A in.
H P
94 Heart-shaped Amulet, inscribed " The Osirian Se-Amen " (?). Granite.
H. \Ys in.
H P
95 Model of a Sceptre. Bronze. H. \}i in.
H P
96 Snake's Head, in Arab mounting. L. 2 in.
H P
97 Buckle, or tie of Isis. H. 2 in.
H P
98 Papyrus Sceptre. Blue faience. H. 1% in.
H P
5o
99 SCARAB/EUS, with expanded wings in one piece, with a large disk over its headr
which has been inlaid. Four loops behind. Sakkarah. Blue faience.
L. 5 in. by p/s in.
H P
100 Menat. Surmounted with the head of Sekemet wearing the disk. Blue faience.
H. 3^ in.
H P
101 Papyrus Sceptre, inscribed " The Osirian scribe of the treasure Atef."'
Blue glass. H. 2}4 in.
102 Hand. An amulet. Unglazed faience. L. 2^ in.
103 Model of a Menat. Dark blue faience. H. i]4 in.
104 Heart-shaped Amulet, with human head. Granite. H. i% in.
105 Heart-shaped Amulet. Variegated glass. H. }& in.
H P
F G
H P
H P
H P
106 Pendant, in form of a lotus flower. Green and blue faience. Tell-el-Amarna.
H. iyi in. •
H P
107 Amulet, in the form of a negro's head. Black glass.
H P
108 Figure of Canopus. Blue faience, with yellow slip. H. lA in.
H P
109 Cat, seated. Tell-el-Amarna. Blue faience. H. V2 in.
H P
110 LlON, recumbent. Emblem of Horus. Red carnelian. L. 3^ in.
H P
111 Amulet, of unusual form, with the head of Meshkent in gold. Red carnelian.
H. \ V2 in.
F G
112 Shu. Figure in profile, being flat, with a plinth behind. Fine blue faience.
H. i% in.
H P
113 Figure of a Man, walking, arms pendant, wearing a peculiar headdress.
Red and brown banded jasper. Minieh. H. I in.
H P
114 ISIS, squatting, wearing a large wig, surmounted by the disk and horns. A flat,
stamped figure, in white coloured gold or electrum. H. I in.
5i
115 Ptah, upon a flat plaque, bandaged. Above the sceptre which he holds is a
small square with the name " Ptah " upon it. Gold. H. 1 5 6 in. ^ ^
116 /EGIS OF ISIS, in gold repousse work. H. I in. by I in.
HP
117 Inlay. Female head. Blue glass. Kom el Ahmar. H. i in.
HP
118 Inlay. Head of Rameses III. (?). Opaque ruby glass, altered to green by
oxidisation. Tell el Yahoudeh. H. I % in.
H P
119 Taurt. Holding the buckle in front. Red jasper. Thebes. H. l% in.
H P
120 HARPOCRATES, hawk-headed, in the form of Ptah-Seker-Ausar, naked, wearing
Atef crown, standing on crocodiles, with a seal beneath ; on the reverse is a
figure of Ptah-Seker-Ausar. Blue faience. XXIst Dynasty (?). H. 2]/2 in.
H P
121 Bes, dancing, wearing a tail, playing upon the tambourine. Flat back. Grey
faience, with yellow spots in slip. H. i^i in.
H P
122 Pendant. A man standing between two cows, which face him. Green faience.
H P
123 Bes. Blue faience, ornamented in yellow slip. Tell-el-Amarna. H. ^ in.
H P
124 Model of a Finger Ring, ornamented with an ^Egis of Isis, wearing the
Pschent. Blue faience. D. I in.
H P
125 Model of a Finger Ring, in the form of a papyrus plant, with two hawks
standing upon two snakes upon the top of it. Blue faience. Der-el-Bahari.
H. \ in.
H P
126 Model of a Finger Ring. A deep band with seated figures of Khensu
and Ra in pierced work. Blue faience. Der-el-Bahari.
H P
127 Model of a Finger Ring, with the figure of an anch upon it. Blue faience.
XVIIIth Dynasty. Tell-el-Amarna.
H P
128 Model of a Finger Ring, with a uraeus and Ka upon the bezel.
Blue faience.
H P
129 Model of a Finger Ring, bearing the name of Amen-Ra, Lord of the
South. Red faience.
H P
130 Model of a Finger Ring, with the figure of an ape on the bezel.
Blue faience.
M
131 Finger Ring, inscribed with the name of Pa-her-ka. Silver. Benha.
H P
132 Finger Ring. Silver, much oxidized. The bezel is a scarab, with emblems
of royalty upon it, set in a broad band of gold. Bubastis. XVIth Dynasty.
H P
133 Penannular Ring, with a beading. Gold.
134 Penannular Ring, with a beading. Gold.
135 Penannular Ring. Plated with gold.
136 Penannular Ring. Plated with gold.
137 Penannular Ring. Striped glass.
138 Penannular Ring. Striped glass.
139 Penannular Ring. Red jasper.
140 Penannular Ring. Red jasper, with two hoops.
141 Fingers, Amulets, three specimens. Obsidian.
142 Seal. Black basalt. H. il£ in.
H P
H P
H P
H P
H P
H P
H P
H P
T W
Rev. Herbert Wilson.
143 Head of a Lion, with flat reverse. Blue faTence. H. ife in. by \% in.
M G
144 Two Lions' Heads, intended for setting into a dagger hilt (?). White faience.
M G
145 Men AT. Amulet, ending in the head of Sekhet wearing the disk and uraeus.
Green faience. H. 2lA in.
F G
53
146 ClPPUS, representing Harpocrates standing- naked, wearing the side lock,
trampling upon two crocodiles, which are on the base of the cippus. Above
the head of Horus is the mask of Bes. In his hands he holds snakes,
scorpions, an antelope, and a lion. Upon one side of him is the standard of
Horus, and upon the other that of Nefer-atmu. There are twelve lines of
hieroglyphics on the back, and figures of the Apis bull and Sebak.
Hieroglyphics are likewise upon the top, sides and base, almost illegible.
Green steatite. Bubastis. H. 2V in. by i}i in.
H P
147 Khnemu. Green faience. H. iy2 in.
M G
148 Model of a Vase, with black decoration. Blue faience. H. \y% in.
M
149 Bead. Cylindrical. Steatite. L. ^ in.
Ralph Bankes, Esq.
150 Eye from the case of a mummy Bull, pupil obsidian, set in alabaster, the rim
is of blue glass. H. 2l/& in. by 3^ in.
H P
151 COLUMN, with heads of Shu and Tefnut (?). Blue faience. XlXth Dynasty.
H. 2% in.
H W
152 Kohl Vase, in the form of a woman seated, holding an animal with the head
of Bes in front of her. Blue faience faded. Sakkarah. H. 2]/2 in.
H P
153 Draughtsman. Human head. Blue faience. Bubastis. H. \}i in.
H P
154 Draughtsman, in the form of a captive, with arms tied behind his back.
Green faience. H. \ in.
M G
155 DRAUGHTSMAN, in the form of a captive, with arms tied behind his back.
Blue faience. H. 7A in.
M G
156 Draughtsman. Blue glass, with two white stripes round the base. H. ^ in.
M G
157 Draughtsman. A captive negro. White faience. H. ^ in
Rev. Herbert Wilson.
158 Kohl Case, representing a piece of reed. Blue faience. Abydos. L. 5^ in.
H P
54
159 CROCODILE, with the head of a hawk, part of tail broken off. Lazuli. Ahmim.
L. \% in.
H P
160 Kohl Case, in imitation of a reed. Yellow faience, with blue decoration.
H. $}i in., D. 7/& in.
F G
161 Draughtsman. Bes, seated with tambourine. Green faience. H. i in.
F P
162 Draughtsman. Conical, with knob on top. Luxor. Blue faience. H. \% in.
H P
163 Draughtsman, with human head. Saitic. Blue faience. H. \\i in.
H W
164 Draughtsman, with head of Bes. Saitic. Green faience. H. ij^in.
H W
165 Draughtsman. Blue faience. H. \% in.
H W
166 Thirteen Strings of Beads, composed of amber, carnelian, amethyst, red
jasper, haematite, green and blue faience, mother of emerald, and various
coloured glass.
H P
167 Necklace, composed of 22 pendants, in the form of cartouches inscribed with
the names of Rameses II. Blue faience.
H P
168 Eight Strings of Beads, consisting of carnelian, faience, amber and various
stone, some have amulets upon them. The top string has some small
scarabs with gold bands, steatite frogs, and a gold scorpion. Found together
in one room of a house at Gurob. Late XVIIIth Dynasty.
University Coll: Edivards Col.
169 A String of Bone Beads. Coptic.
H W
170 Figure of Osiris. Wood, spotted with colour. H. 71/ in.
T W
171 Genii of Amenti, a figure of Mestha and of Hapi. Wood. H. 6 in. and
7 in. respectively.
T W
172 Doll. Clay. H. $H in-
H W
173 Doll, with large head-dress. Clay. H. 5^ in.
55
174 FOUNDATION Deposits from a Ptolemaic Temple at Koptos, consisting of
models of bricks in glass, lead, bronze, Nile mud, and two limestone gilded,
and an earthenware pot.
F P
H P
H P
H P
H P
H P
H P
H P
182 Box, for toilet use, inlaid with ivory, ebony and faience. Thebes. H. 2^ in.
by 4^ in.
H P
H P
H P
175 Model of a Play Ball. Blue and black faience.
176 Doll. Woman carrying a baby. Limestone. H. 4^ in.
177 DOLL. Wood, arms wanting. H. 7 in.
178 Doll. Limestone. H. 3^ in.
179 Ball. Green and black faience.
180 Doll. Bone. H. 4^ in.
181 DOLL. Terra-cotta. H. in. Der el Bahari.
H P
183 Doll. Limestone. H. sH m-
184 Doll. Bone. H. 3^ in.
185 Doll. Wood, painted, with wig of beads. H. 7 in.
186 Scribe, kneeling, holding a tablet. Black steatite. H. 3^ in.
H P
187 Pillow, the head with two supporting hands carved upon it. Wood. L. 6 in.
H P
188 Four Ink Pots, of conical shape, on a pedestal. Green glazed faience.
H. 1^ in. by 2*4 in.
H P
189 FOUR Ink Pots, circular form. Green glazed faience. H. i}4 in. by 2*4 in.
H P
190 Mortar, for grinding paints Basalt. D. yA in.
H P
56
191 Mortar and Pestle, for grinding paints, of rectangular form. L. 3^ in.
H P
192 Pestle, in form of a human thumb. White limestone. H. 23/ in.
H P
193 Model of a Painter's Pallet, with models of paint pots in stone. Lime-
stone. Erment. L. 6 in.
H P
194 Reed, with the handles of three paint brushes. In wood.
H P
195 Pallet of a Scribe. Ebony. Sakharah. L. 13 in.
H P
196 Pallet of a Scribe. Tehuti. Wood. Thebes. L. 93/ in.
H P
197 Lamp, with a head of Bes over the receiver, and a reflector behind, when shut
down it is in the form of a fish. Bronze. H. 2^ in. by 5% in.
H P
198 Inlay, part of a dress. Glazed faience upon sandstone. Tell el Yahoudeh.
H P
199 Five Roundels, for inlaying in columns, of various sizes. Tell el Yahoudeh.
XXth Dynasty.
H P
200 Inlay, of triangular form, with two roundels or rosettes inserted, and space
for a lotus flower, &c. Tell el Yahoudeh. H. 2^ in.
H P
201 INLAY, in form of a lotus flower, with colours. Green, red and white faience.
Tell el Amarna. H. 2% in.
H P
202 Tablet, made for the Osirian, Hetep-amen, adoring Harmachis and Tmu.
Painted wood. H. 14^ in.
H P
203 Tablet, made for the Osirian, Set-iri-ban, adoring Harmachis and Tmu.
Painted wood. H. 15 in.
H P
204 Tablet, made for the Osirian, Nesichonsu, adoring Ra, Osiris, Isis, and
Nephthys. Painted wood. H. 12 in.
H P
205 Tablet, made for the Osirian, Pa-nit-qanen, adoring Harmachis. Painted
wood. H. 9^ in.
57
206 TABLET, made for the Osirian, adoring Harmachis. Painted wood. H. u^irt.
H P
207 Sepulchral Vase. A model. Wood, painted. H. 6 in.
H P
208 Vase. Model in solid wood, painted, inscribed with the name of Neferi.
Drah-abu '1 Neggeh. H. 7^ in.
H P
209 VASE. A model. Wood, painted. Drah-abu '1 Neggeh. H. 6 in.
H P
Case I.
1 Bast, standing, carrying an aegis. Bronze. Saiitic period. H. $Ji in.
2 BAST, standing, holding the sistrum in the right hand, and an aegis and basket on
the left arm. Bronze. Saiitic period. H. 3^ in.
3 NEFER-ATMU, walking, left leg advanced. Bronze. Saiitic period. H. y/2 in.
K
4 CYNOCEPHALUS, bandaged, wearing wig, and seated upon a basket. Plinth up
the back. Blue faience. H. 2T>A in.
K
5 Fibula. Roman period. Bronze. L. in.
6 Hippopotamus, back ornamented. Yellow faience. H. 2% in, L. $}4 in.
7 Iron Instrument. L. zs/ in.
A K
8 Model of a Ball, covered with leather. Faience, dark and light blue glaze.
L. 2^ in.
K
9 Bottle, in the shape of a mouse. Terra-cotta. H. 2% in.
58
10 Hawk. Root of emerald. H. \% in.
K
11 Hawk. Serpentine. H. 2 in.
K
12 Portion of a Bee. Stone glazed. H. 27A in.
K
13 Hawk. Dark blue faience. H. 2% in.
14 Amphora-shaped Vase, with alternate white and yellow wavy lines. Has been
in a fire. Blue glass. H. 4^ in.
15 VASE, with black ornamentation. Blue faience. H. 2^ in.
16 Female Figure, standing with arms pendant. Blue paste. H. 4^ in.
17 Tehuti. Green faience. H. 4^ in.
18 Model of a Fruit. Amber. L. 3^ in.
19 Hawk. Found in the Temple of Senefru, at Medum. IVth Dynasty (?). Blue
faience. H. 2$4 in.
K
20 Hare. Blue faience, with black spots. L. 3 in.
K
21 Two-headed Ram. Lapis lazuli. H. \y2 in.
K
22 Cartouche, with the name of Khu-n-aten, from Tel-el-Amarna. Porcelain.
H. 1 74 in.
K
23 Fragment, with the cartouche of Amenhotep III. Faience, green glaze.
XVIIIth Dynasty. From Tel-el-Amarna.
K
24 MENAT, surmounted with the head of Sekhet wearing the disk. Green faience.
H. 3 in.
K
25 Menat, surmounted with the head of Sekhet wearing the crown of Upper and
Lower Egypt. Green faience. H. 3^ in.
59
26 Stamp, with the name of Sheshank, a King of the XXIIIrd Dynasty. Bronze.
L. \yA in.
27 A Collection of various Small Figures of Gods, Animals, Birds
AND AMULETS, most of the principal divinities being represented, including
triads of Isis, Nephthys and Horus. Faience of various colours. Also two
seated figures of Mut in carnelian. A carnelian Tat and a red jasper buckle.
K
28 Necklace, composed of seven strings of beads of various kinds, viz., red and
white carnelian, root of emerald, red jasper, faience, red glass, and seven
gold pendants. Gurob. XVIIIth Dynasty.
K
29 Dish, with upright rim, with rosette decoration inside, and outside decorated
as if it were a wooden barrel. Fai'ence, blue glaze and black.
XVIIIth Dynasty. D. 7^ in.
M G
30 JUG, with handle and long neck, decorated with wreath in black. Fai'ence,
blue glaze. XVIIIth Dynasty. H. 6^ in.
M G
31 False-necked Vase, decorated with black pattern. Faience, blue glaze.
XVIIIth Dynasty. H. 3 in., D. 2^ in.
M G
32 Vase, of unglazed pottery, with two pierced handles, decorated in red, with
boats, a sail, and ostriches. H. 5 in.
M G
33 BOTTLE, in yellowish smooth stoneware, decorated with wreath, painted in
brown and black; egg-shaped bowl, with long neck. XVIIIth Dynasty.
H. 9 in.
M G
34 Vase, in yellowish smooth stoneware, decorated in brown and black.
XVIIIth Dynasty. H. 3 in.
M G
35 JUG, with handle. Pottery painted in imitation of granite, with the name
of the Lady Amen-un-usekht. XlXth Dynasty. H. 5^ in.
36 Inkstand, in form of a cartouche, with two holes, in white and brown glazed
stone ; at one end is a monkey climbing up. XVIIIth Dynasty. L. 3 in.
M G
6o
37 Inkstand, in form of a cartouche, with two holes ; at one end is sitting a
monkey. Faience, light blue glaze. XXIInd Dynasty. L. 2^ in.
M G
38 Body of an Ibis in white faience, the tail inlaid with blue paste the neck
and legs of bronze are lost. L. $}4 in.
M G
39 Sculptor's Trial-Block of a Capital. In limestone. New Empire.
H. 5^ in.
M G
40 PECTORAL, with head of hawk, crowned with the disk with four wings, on the
back a Greek . Yellow faience ; inlay of red and blue paste lost.
H. $y2 in.
M G
41 Fragment of Plaque with reliefs ; a king, with leopard-skin, standing ;
behind him, " Thoth, Lord of Hermopolis," and " Neit." Faience, light
blue glaze. L. 2]/2 in.
M G
42 Middle-piece of a Necklace, with reliefs. Sekhmet suckling a king ; Isis ;
captives ; Nekhebt and Bute as winged snakes ; lotus flowers and a cartouche
with imitated hieroglyphs. Light blue paste. XXIInd Dynasty (?).
L. 2 in. by in.
M G
43 JUG, in form of a kneeling man, the handle is formed by the pigtail. Alabaster.
Ancient Empire. H. 3^ in.
M G
44 PILLOW, the shaft is ribbed, the place for the inscription is unfilled. Alabaster.
Ancient Empire. H. 7 in.
M G
45 Vase. Alabaster, with bands of red sandstone. H. 2}£ in.
M G
46 TAURT. Blue glazed faience. Feet broken off. XVI I Ith Dynasty. H. 2}i in.
M G
47 Part of Uta Eye. Green glazed faience, inlaid with paste. L. 2^ in.
H W
48 Winged Eros. Terra-cotta, painted. H. 2% in.
H W
6i
49 Vase, top broken off. Decorated in black with spirals and wreathed with
conventional leaves. Blue glazed faience. H. 8 in. T>. 7% in.
H W
50 Vase, with flat rim and embryo handles. Alabaster. H. 7^ in. From
Bubastis.
H P
51 Dish. Alabaster. Vlth Dynasty. D. 17 in. Sakkarah.
T W
52 Vase, with flat rim and embryo handles. Alabaster. From Bubastis. H. 73^ in.
H P
53 Set of four Sepulchral Vases (canopic), with the heads of the four genii
of Amenti, with usual formula in hieroglyphics, made for Horuta.
XXVIth Dynasty. Alabaster. H. 17, 16, 14^ and 13^ in. respectively.
From Hawara.
K
Case J.
Containing1 solely Bronzes.
1 Throne FOR a bronze Statue, formed by two standing lions with tails erect,
on the arms are two recumbent lions, and on the back, portions of a winged
hawk. H. 7^ in.
H W
2 Cat-head, from a case for cat's bones. Ears barred with gold. Bubastis.
XXI Ind Dynasty. H. 3 in.
H P
3 Head of a Cat, with scarab on forehead. H. 4^ in.
Walter L. Nash, Esq.
4 Cat, with an Aegis suspended round the neck in front and lion's head (?) on the
back. Bronze, ears pierced. Saitic period. H. 6}4 in.
K
5 Ba, standing. H. 8 in.
University Coll : Edwards Col.
6 Head of Lion, with ring and chain in front. H. 2^ in.
M
7 Hawk, crowned with double crown ; hollow, with square hole below. H. 6l/> in.
H P
8 Ichneumon, walking. San. L. $}i in.
H P
9 Ichneumon, sitting up, with raised paws, two young at its feet. Sais. H. in.
H P
10 Bat, sitting upright, with folded wings. Benha. H. g in.
H P
11 Ichneumon, seated upright. H. 5^ in.
Walter L. Nash, Esq.
12 Shrew-mouse, standing. Sacred to Horus. Ornamentation on back, and the
eyes inlaid with gold. Bronze. H. 2}& in., L. 5^ in.
13 Amen-Ra, standing. H. y% in.
14 HORUS. Hawk-headed, seated, gilded. H. 4%^ in.
15 Amen-Ra, with hawk head and double feather, standing. H. 2^ in.
16 TAHUTI, crowned with disk and crescent, standing. H. 3 in.
F G
T W
K
F P
K
17 RANEN, as a uraeus, with woman's head, crowned with uraei, double feather and
horns. Sakkara. H. 4^ in.
18 PTAH TENEN, standing. H. 4 in.
19 Ram, on a papyrus staff-head. H. 2^3 in.
20 Vulture Head of Nekhebt, crowned with Atef crown. H. 4 in.
21 Mut, vulture-headed, with double crown, standing. H. 6^ in.
22 Set, fighting. H. 2}i in.
H P
K
F P
H P
F G
F P
23 Tahuti of Mendes, bull-headed, fighting, on a staff-head. H. 6% in.
J. Travers Smith, Esq.
24 Bes, holding a tambourine. H. 2% in.
F P
25 Bes, holding a harp. H. 2% in.
63
26 Menat, in open-work. Head of Sekhet surmounted with disk and urasus. Below
is a standing figure of the goddess. Similar reverse. Inscribed : " Nebt uati."
Illahun. H. a% in.
K
27 Aegis of Amen, with ram's head. H. 3^ in.
K
28 Incense Offerer. A rod with an open hand at the tip, and a hawk's head at
the other end ; on it, a kneeling figure of a king, with incense box, cartouche-
shaped, before him. Bubastis. L. 19^ in.
H P
29 Performing Dog, standing on a staff-head. H. 1 in.
F P
30 Ibex, standing. H. 1% in.
F P
31 Ibis, of alabaster, head and legs of bronze. H. 23^ in.
M G
32 Pair of Ibis Figures, like 31. H. iV, in.
M
33 Isis, standing, with sistrum. Roman. H. i}i in.
F P
34 Taurt, standing, crowned with feathers. H. i}£ in.
F P
35 AEGIS OF Sekhet, with two cats on the top edge, upon the collar a triad in
relief of Amen-Min, Neferatum and Sekhet. H. 3% in.
H P
36 Kneeling Offerer, with tray on head. H. iyi in.
F P
37 Kneeling Priest. H. i in.
F P
38 Kher-heb, walking, with roll under arm. H. 2l/> in.
E
39 PTAH, standing. H. 6 in.
K
40 Ptah, standing. H. 4}i in.
K
41 MAAT, standing, feather on head. H. $}4 in.
F P
42 IMHOTEP, seated, with gold eyes. H. $% in.
K
64
43 Imhotep, seated. H. in.
44 Imhotep, seated. H. 5 }i in.
45 Bast, walking, holding aegis. H. 6)4 in.
46 Maahes, lion-headed, walking. H. $/4 in.
47 Maahes, lion-headed, walking. H. 3^ in.
48 ANHOUR, cylindrical head-dress. H. 3^ in.
49 Anhour, face inlaid with gold. H. 7^ in.
50 Anhour, uraeus on head. H. 5^ in.
Alfred Cock, Esq., Q.C.
E
H P
H P
H P
H P
F P
M G
51 Anupt, female Anubis, standing, in long garment, right hand advanced,
jackal-headed. H. 4 in.
H P
52 Uazit, walking, two uraei on crown. Sais. H. $M in.
H P
53 Uazit, walking, as 52. H. 5% in.
53* Sekhet, standing, with arms held out, and embraced by the wings of a jackal -
headed hawk behind. H. 3 in.
H P
54 Head-dress of Selk, scorpion on crowns of uraei. H. \}i in.
f. Travers Smith, Esq.
55 Selk, as human-headed scorpion, with disk and horns. H. y% in.
K
56 Selk, as 55, on staff head. H. 3^ in.
Mrs. Goodison.
57 Ibis, on staff head. H. 6}£ in.
H W
58 Hawk, on staff head (inscribed). H. 7^ in.
F P
59 Seated Queen (?), uraeus on head. H. 3^ in.
H P
65
60 ISIS, standing, with disk and horns, right hand raised, left hand clenched
extended, garment girded round legs. Head covered with electrum foil.
Phoenician. H. 8}£ in.
Walter L. NasJi, Esq.
61 Standing figure of a Girl, nude, with right hand raised. Phoenician.
H. 6$£ in.
K
62 Khonsu, seated, with disk and crescent, eyes gold, inlaid. H. 6^3 in.
Sir George Curtis Lampson.
63 KllONSU, seated, with disk and crescent, and atef head-dress above. H. 8^ in.
H P
63* KHONSU, youthful, standing, swathed. H. $% in.
64 KHONSU-PE-KHRAT, disk and horns and atef crown, standing. H. 6 in.
H P
64* ROYAL PRIEST, standing, holding Ibis standard and aukh, like priests on granite
columns in Capitoline Museum. Roman. H. 4.1/, in.
H P
65 King, kneeling, with head-cloth on. H. 5 % in.
HP
65* Royal Priest, standing, holding Hawk standard and girdle tie, as 64*.
H. 4}4 in.
H P
66 Isis, seated, with Horus, on a lion throne. H. e.3/ in.
67 Isis, seated, with Horus, Greek style. H. W2 in.
F P
68 Har-pe-khrat, with triple atef crown, seated. H. 6% in.
H P
69 Har-pe-khrat, as 68. H. 67£ in.
T W
69* HORUS, seated, swathed as a mummy. H. 8^ in.
5. E. Kennedy, Esq.
70 Har-pe-khrat, standing. Sakkara. H. 4^5 in.
H P
71 HORUS, seated, naturalistic work. H. 3^ in.
F P
72 Har-pe-khrat, standing, Roman. H. 4 in.
H W
66
73 HORUS, standing, hawk-headed, with double crown. H. 3^$ in.
K
74 SlTULA, figures as 75. H. 3^ in.
K
75 Situla, with figures of Min, Mut, Horus, Nebhat, Anpu, Taurt, Mahes, and
Uazit. Apis and bark of sun above. Dedicated by Zed-en-ua, son of
Em-ura-n .... born of Asty. H. 8 in.
H P
76 Situla, with figures, as 75. H. 4% in.
H W
77 Polished Bowl, Deir el Bahri, with 78. W. 6}& in.
H W
78 Bowl, with repousse' figures of bulls in two bands. Deir el Bahri.
XVIIIth Dynasty. W. 63/8 in.
H W
79 Bowl. W. 5^ in.
H W
80 Lower end of A large Menat, engraved with Isis suckling Horus, and the
crowned hawk amid papyrus plants. W. 4^ in.
H W
81 BOWL, with ring handle for suspension, engraved with pattern and wreath.
XVIIIth Dynasty. W. 4% in.
F P
82 Vase, very thin work. H. 4}£ in.
H W
83 Standard of Mentu, double spear head. Hawk on shaft. Koptos.
Ptolemaic. H. 6}4 in.
K
84 Another, with Horus binding the crocodile, hawk-headed Sphinx on shaft.
H. S'A in.
K
85 Another, with Horus binding the crocodile. H. s}4 in.
K
86 Mirror, with blue faience handle. H. 12^$ in.
F P
87 Mirror, with female figure handle. H. 10^ in.
M G
88 Mirror, with zigzag and plait pattern handle, hawks on upper part. H. j% in.
H P
67
88* Mirror, with painted wooden handle. H. g% in.
H P
89 Mirror, with zigzag plait and spirals on handle. H. y^i in.
HP
90 MIRROR, with Hathor head on handle, massive, polished, with gilded knobs.
H. q% in.
H W
91 Mirror, with lotus handle in massive ivory. Found at Kahun. Xllth Dynasty.
H. 14% in.
F P
92 Libation Vase, with two spouts. H. 4 in.
H P
92* Bes, standing, on papyrus sceptre. H. 15^ in.
5. E. Kennedy, Esq.
93 HARPOKRATES, standing, crowned on a staff head capital. Roman period.
H. Jyi in. by in.
Somers Clarke, Esq.
94 Long Ladle, with uza eye on bowl, and duck's head ending handle. L. 20yi in.
H P
95 Cat. H. 14^ in.
C. Brinsley Marlay, Esq.
96 Harpakrat, walking, with triple atef crown. H. 15^ in.
K
97 Vase of Isimkheb, from her tomb, with cover. XX 1st Dynasty. H. 13 in.
H P
Case K.
Solely Bronze objects.
1 Aegis of Lsis. H. ii^ in.
Walter L. Nash, Esq.
2 Two Figures of Osiris and a Bull. H. 7 in.
M G
3 Sekhet. H. 9% in.
Sir George Curtis Lampson.
68
3* I sis winged. H. $y2 in.
K
4 Neit. Silver eyes. H. 9 in.
University Coll : Edwards Col.
5 Neit, with circle pattern on crown. Thebes. H. 7 in.
H P
6 Anpu, walking, eyes inlaid with gold. H. 7^ in.
Sir George Curtis Lampson.
7 Khonsu, walking, eyes and beard inlaid with gold. H. 8*4 in.
H P
8 Mentu-Ra, walking, with double crown. H. 8 in.
Sir George Curtis Lampson.
The. following Bronzes all bear dedicatory inscriptions to the gods. The names of the
dedicators are here staled, togetlier with their pat-entage.
9 AEGIS OF ISIS; by Uzatnekht, son of Taurt. XXIIIrd Dynasty (?). H. 9^ in.
H P
10 Amen, standing, with lion's head, like Bes, and papyrus crown, holding a staff
in right, in fighting attitude ; by Nesiptah, son of Un-mu-amen, born of
Pen-neter. XXIIIrd Dynasty (?). H. 8 in.
Liverpool Museum.
11 ISIS NURSING HORUS; by Khonsu-en .... XXIIIrd Dynasty (?). H. 8 in.
H P
12 Priest, kneeling, with aegis and basket of bast ; by Atmu(?)ardus, son of
Amenardus, and Psenamen. Bubastis. H. 2% in.
M
13 Ptah, with gold collar ; by Pcdu-amen-ap (son of) Pa-ha-uza. H. 5 in.
H P
14 Serpent, human headed, with crown of Atmu, on a long box ; by Du-er-neit-
ankh, son of Amenardus, and by Un-nefer. L. 12 in. H. 5%^ in.
H P
15 Aimhotep, seated ; by Nas-nef-bast, born of Takheth. H. 6% in.
Sir George Curtis Lampson.
16 Neit, standing ; by Hap-he-ruan, son of Then-hor-nem and Mer-en-neit.
H. g% in.
Mrs. Goodison.
17 Neit ; by Pedu-hor-zef-utut, son of Tedu-pa-neit-za, and Aah-tefen. H. 4}4 in.
F P
69
18 Apuat, jackal-headed, seated ; by Pedu-hor-se. H. 5 in.
HP
19 Har-PE-KHRAT, seated, inlaid with gold on eyes, collar and base ; by Khonsu-
ardus, set on a later throne by Ra-en-a, son of Undut-es-ran (?) born of
Ast-a-rekhts. H. 6 in.
H P
19* Baboon on staff head ; by ... . Hor zes-nefer illegibly
inscribed. H. 4 in.
F P
20 BABOON on staff head ; by Amen son of Nesi-ua . . . . , illegibly
inscribed. H. 6% in.
H W
The following Bronzes may be approximately dated by their inscriptions.
21 Copper Staff-head, cylindrical, of Pepy. Vlth Dynasty. H. 2^ in.
22 Part of A Menat of Tahutmes III. XVIIIth Dynasty. H. S/i in.
F G
23 Ibis, on base; by Her-kheb, son of Pa-si-ast, born of Her-em-heb.
XXIst Dynasty. L. 4 in.
F P
24 Osiris, standing ; by Pa-un-hati-., son of Sheshenk. XXI Ind Dynasty.
H. 5 in.
F P
25 Osiris, standing; by Hcr-ar-ab-bast, son of Pa-khal. XXIIIrd Dynasty.
H. 8 in.
F P
26 Mut, standing; by Tesh-nefer, son of Amenardus, born of Teshta.
XXVth Dynasty. H. $}& in.
F P
27 Neit ; by Tcdu-neit-nefer-tek (daughter of) Tedu-ptah, daughter of Atmu-ardus.
XXVth Dynasty. H. 7 in.
F P
28 Neit ; by Hor, son of Amenardus. XXVth Dynasty. H. 6^5 in.
F P
29 Bast ; by Tcdu-amen-suten-neteru, son of Khonsu-ardus. XXVth Dynasty.
H. s7A in.
Alfred Cock, Esq., Q.C.
7o
30 HAR-PE-KHRAT, with atef crown ; by . . . . hor-aker, son of Amenardus ; and
. . .son of Bast hotep. XXVth Dynasty. H. 6% in.
M
31 Amen-Ra, standing ; by Amen-zef-her, son of Am-akhu-a-herud, born of
Shap-her. XXVth Dynasty. H. 934; in.
Sir George Curtis Lampson.
32 Har-PE-KHRAT ; by Pedu-hor-pe-se-ast, son of ... . and .... a-ardus, son
of A-ardus-aht. XXVth Dynasty. H. $7A in-
F P
33 Hawk of HORUS; by Pedu-pe-nefer-en-artef, son of Amen-ardus, born
of Ta-khredet-ast, born of Pedu-asar, son of Psemthek.
XXVIth Dynasty. H. 4^ in.
Walter L. Nash, Esq.
34 Apis Bull ; by Uza-hor, son of Pedu-asar. XXVIth Dynasty. H. 3^ in.
H P
35 Osiris, eyes inlaid with gold ; by Ptah-aru-dut-s, son of Pa-sen-mut. XXVIIIth
Dynasty. H. 10^6 in.
Sir George Curtis Lampson.
36 Apis Bull ; by Hotep-bast, son of Pedu-bast. {Cast from ancient.) XXVth
Dynasty. L. 4 in.
K
37 Osiris ; by Tutu, son of Mepta-dua, born of Tesemthek. XXVIth Dynasty.
H. 6}{ in.
F P
38 Osiris, seated ; by Ra-nefer-ab-neb-nuk, son of Abesh, born of Ar-em-tak,
with date of Festival of Osiris. XXVIth Dynasty. H. 6}£ in.
F P
39 OXYRHYNKOS FlSH. L. 4 in.
H P
40 Sacred Fish of Mendes, on standard. L. y/2 in.
University Coll: Edwards Col.
41 OXYRHYNKOS F'lSH. L. 4 yi in.
E
42 Jackal Head of Sceptre. H. 2 in.
F P
43 Double Pointed Karian Spear. H. y}i in.
E
44 Crowned Ur^US of Uazi on papyrus sceptre. H. \}i in. ^
45 Latus Fish. L. 4^5 in. ^
46 Baboon, seated, disk and crescent on head. H. 2% in.
K
47 Cat, seated, eyes inlaid with gold. H. in.
J. Travers Smith, Esq.
48 Patera, with handle. Roman. W. 4}& in.
Walter L. Nas/i, Esq.
49 Hawk. H. 2V, in.
H W
50 Calf, weight (?) Greek. L. 2% in.
F P
51 Apis Bull. H. 3^ in.
K
52 Head of Helios, radiated. Ekhmim. Greek. H. ±%i in.
H P
53 Votive Tablet, with Apis Bull, demotic inscription above, and names of ten
Greeks who dedicated it. H. XsA in.
H W
54 Sistrum, cat on top. H. \o\i in.
T W
55 Cutting Tool, in form of oryx. XVIIIth Dynasty. L. 3^ in.
M G
56 Adorer before AN Ibis; another adorer lost and replaced by a smaller Ibis.
L. z% in.
57 Table of Offerings, with kneeling priest, frog, two apes and two hawks.
L. 2% in.
F G
58 Table of Offerings, with kneeling priest and frog. L. 3% in.
H W
59 Table of Offerings, like 57. L. 2 in.
Mrs. Goodison.
60 Cat, couchant, with three kittens. L. 3 Va in.
FG
61 Aegis of Sekhet. H. 3 in.
H W
62 Bull-headed Eagle, volant, crowned with feathers. H. 3*^ in.
TW
63 Jackal-headed Genius, kneeling. Sais. H. \ iA in.
H P
64 Goose. H. i yi in.
F P
65 Hawk. H. \% in.
F P
66 Vulture. H. ft in.
F P
66* Hawk Head, with disk on sceptre. H. 1% in.
F P
67 Maat, seated, with feather. H. 2 in.
F P
68 Ring of Pedu HOE, Son of Sen ant (?). A priest adoring Ra, seated.
W. 1 in.
Rev. Herbert Wilson.
69 Serapis, standing. Roman. H. 3%^ in.
H P
70 Ring with Head of Ptolemy V. Philopator. 217-204 B.C. W. 1% in.
F P
71 Heads of Horus and Bast, joined. Roman. H. 1^ in.
H W
71* Sistrum, with four bars ; head of Horus on top. H. 8y£ in.
F P
72 Fisherman seated on a rock. Roman. H. 1^ in.
H W
73 Handle, with Bes and a female supported on ducks, lions at base. H. 2^ in.
H W
74 Handle, Faun with a stick. Roman. H. 2^ in.
H W
75 Model Axe, with brown binding for handle. L. 2% in.
H W
76 Model Knife, Chisel and Axe, and Alabaster Vase, all inscribed for
" The Good God Ra-men-kheper beloved of Min, of Koptos." From
foundation of temple of Tahutmes III., at Koptos. L. 7^ in., L. 55^ in.,
L. 3 in., H. 4 in.
K
73
77 Two Model Hoes and 4 Model Baskets. From a foundation deposit.
L. 2% in.. H. 1 % in.
K
78 Model Tools: 2 Axes, 5 Chisels, and Knife. L. 1% in. to 2 in.
T W
"79 Harpoon, L. $*4 in.; Axe, L. 3 in.; Chisels, L. 4 in. and 5 in.
Liverpool Museum.
80 Axe. L. 4% in.
81 Osiris Figure, showing stucco and gilding. H. z7A in-
82 Cutting Instrument, hinging in back. L. s5A in-
83 Stamp, inscribed AIOSKEPOI. L. 2 in.
84 Handle of Vase, with lion. L. 4% in.
85 Half of Hollow Silver Anklet. Roman. L. 4^ in.
K
H W
K
H W
H W
H W
Case L,
1 Ushabti of a priest named Antef. Brown serpentine. Xlth Dynasty (?).
H. S% in.
H P
2 Ushabti from Meh. Wood. Xllth Dynasty (?). H. 6}£ in.
Walter L. Nash, Esq.
3 Ushabti of a lady named Nai. Limestone, painted. XVIIIth Dynasty.
H. 9% in.
Walter L. Nas/i, Esq.
4 Ushabti of a lady named Nai. Limestone. XVIIIth Dynasty. H. 7 in.
H P
5 Ushabti of a lady named Ta-karei. Limestone, painted. XVIIIth Dynasty.
H. 113^ in.
H P
74
6 USHABTI of a page of the house, Har-em-na. Limestone, painted.
XVIIIth Dynasty. H. 6% in.
T W
7 Ushabti of Thy. Green steatite. Late XVIIIth Dynasty. H. 6% in.
8 Ushabti, wearing curled wig and tunic. Ebony. XVIIIth Dynasty. H. 8^6 in.
K
9 Ushabti given by the King for the chief archer of Zal, keeper of the horses.
Ma-nu-na. Wood painted. XVIIIth Dynasty. H. io in.
F P
10 Ushabti of a scribe named Heh. Faience. XVIIIth Dynasty. H. 3j4 in.
H P
11 Ushabti of a great scribe of Amen. Faience. White glaze, with black wig,
the hands and face in red paste. Late XVIIIth Dynasty. H. 4}i in.
K
12 USHABTI of Tun-re. Brown sandstone. XlXth Dynasty. H. 9lA, in.
H P
13 Ushabti of a keeper of the royal herds, Ptah-em-ua. Black steatite. Early
XlXth Dynasty. H. 7 in.
H W
14 Ushabti of a lady named Hotep-i. Stone painted. XlXth Dynasty.
H. 75/8 in.
M G
15 Ushabti of a priest of Amen named An-Hai. Terra cotta, painted.
XlXth Dynasty. H. 6^ in.
H P
16 Ushabti of Pa-sa-(Ra-user-mat-sotep-en-Ra). Faience. White glaze, purple
decorations, the hands and face in red paste. XlXth Dynasty. H. 6]/A in.
H W
17 USHABTI, name obscure. Faience. White glaze, purple decorations.
XlXth Dynasty. H. 5 in.
H P
18 Ushabti of Ra-user-ma-necht. Faience. Early XlXth Dynasty. H. 6% in.
Walter L. Nash, Esq.
19 Ushabti, name wanting. Black steatite. XlXth Dynasty. H. 6^ in.
H P
75
20 UsiiABTl, name wanting. Alabaster. XlXth Dynasty. H. $}i in.
H P
21 Ushabti of a lady named Pen-rennu(t). Terra cotta, painted. XlXth Dynasty
IMtfin. F G
22 Ushabti of Seti. Inscribed with his prenomen and name. Faience.
XlXth Dynasty. H. 4^ in.
Ralph Bankes, Esq.
23 Two Portions of Ushabti, probably of the same figure. Name wanting.
Faience. XlXth Dynasty.
Ralph Bankes, Esq.
24 Ushabti, name illegible. Wood, painted. XlXth Dynasty. H. 7% in.
H P
25 Ushabti of a lady named Nefer-mat .... A singer of the Temple of Amen.
Wood, painted. XlXth Dynasty. H. 8^ in.
H P
26 Ushabti of Amen-mes. Wood, painted. XlXth Dynasty. H. Zl/2 in.
H P
27 Ushabti of Ma-hu. Wood, painted. X I Xth Dynasty. H. \\lA'in.
F P
28 Ushabti with curled wig. Wood, painted. XI Xth Dynasty. H.8^in.
T W
29 Apis Ushabti. Faience. XlXth Dynasty. H. 3^ in.
Waller L. Nash, Esq.
30 Apis Ushabti. Faience. XI Xth Dynasty. H. 4 in.
T W
31 Ushabti, uninscribed. Accacia wood. New Empire. H. 8 in.
IV. Rome, Esq., F.S.A.
32 Ushabti of Hetep. Terra cotta, painted. II. 8j{ in.
H P
33 Ushabti of a Cher-heb named Peta-Amen-apt. Glazed steatite. X Xth Dynasty.
H. 6}i in.
E
34 Ushabti of a Cher-heb named Peta-Amen-apt. Faience. XXth Dynasty.
H. 5^ in.
H P
35 Ushabti of Baka .... Limestone, painted. XXth Dynasty. H. 6 in.
76
36 USHABTI of Bak-em-Khonsu. Terra cotta, painted. XXth Dynasty. H.5^in.
H P
37 Portion OF a Ushabti of a fourth prophet of Amen, named Men-tu-em-hat.
Faience. XXth Dynasty.
H W
38 Ushabti of a priest of Amen named Hor. Faience. XXth Dynasty. H. 4^ in.
M
39 Ushabti of a priest of Amen named Hor. Faience. XXth Dynasty. H. $}i in.
M
40 Two Ushabti of a foreigner named Cha-re. Faience. XXth Dynasty.
H. 27A in.
T W
41 Ushabti of a chief priest of Amen named Pai-netem. From Der-el-Bahari.
Faience. XXIst Dynasty. H. in.
H P
42 Ushabti of a chief priest of Amen named Pai-netem. From Der-el-Bahari.
Faience. XXIst Dynasty. H. 7 in.
H P
43 Ushabti of a chief priest of Amen named Pai-netem. From Der-el-Bahari.
Faience. XXIst Dynasty. H. 6t>A in.
T W
44 Ushabti of Pai-n£tem I. From Der-el-Bahari. Faience. XXIst Dynasty.
H.4^n.
45 Ushabti of Pai-netem I. From Der-el-Bahari. Faience. XXIst Dynasty.
H. 4^ in.
T W
46 Ushabti of a lady named Nesi-chonsu. From Der-el-Bahari. Faience.
XXIst Dynasty. H. 7 in.
H P
47 Ushabti of a lady named Nesi-chonsu. From Der-el-Bahari. Faience.
XXIst Dynasty. H. 7% in.
T W
48 Ushabti of a lady named Nesi-chonsu. From Der-el-Bahari. Faience-
XXIst Dynasty. H. 3% in.
H P
49 Ushabti of a lady named Nesi-ta-neb-asher. From Der-el-Bahari. Faience.
XXIst Dynasty. H. 6 in.
77
50 Ushabti of a lady named N£si-ta-neb-asher. From Der-el-Bahari. Faience.
XXIst Dynasty. H. $% in.
T W
51 Ushabti of a royal lady named Ast-em-cheb, member of the College of Amen
at Thebes. From Der-el-Bahari. Faience. XXIst Dynasty. H. $}( in.
H P
52 Ushabti of a royal lady named Ast-em-cheb. From Der-el-Bahari. Faience.
XXIst Dynasty. H. SlA in-
Sir George Curtis Lainpson.
53 Ushabti of a royal lady named Ast-em-cheb. From Der-el Bahari. Faience.
XXIst Dynasty. H. 6V, in.
T W
54 Ushabti of an official of the scribes of the treasures of the Temple of Amen
named Pai-nefer-nefer. From Der-el-Bahari. Faience. XXIst Dynasty.
H. iy2 in.
H P
55 Ushabti of an official of the scribes named Pai-nefer-nefer. From Der-el-Bahari.
Faience. XXIst Dynasty. H. in.
T W
56 Ushabti of a scribe named Heh. A priest of An. Faience. XXIst Dynasty.
H. 3^ in.
Mrs. Goodisoti.
57 Ushabti of a queen. Hout-taui. From Der-el-Bahari. Faience. XXIst
Dynasty. H. in.
H P
58 Ushabti of a queen. Hout-taui. From Der-el-Bahari. Faience. XXIst
Dynasty. H. 4^3 in.
T W
59 Ushabti of a queen. Hout-taui. From Der-el-Bahari. Faience. XXIst
Dynasty. H. 6 in.
Sir George Curtis Lampson.
60 Ushabti of a scribe of the treasury named Nesi-Bast. Faience. XXIst
Dynasty. H. 4^ in.
H P
61 Ushabti of the chief steward of the treasure, named Amen-mes. Wood
painted. XXIst Dynasty. H. y% in.
H P
62 Ushabti of a queen. Mat-ka-Ra. From Der-el-Bahari. Faience. XXIInd
Dynasty. H. 4^ in.
T W
78
63 USHABTI of a queen. Mat-ka-Ra. From Der-el-Bahari. Faience. XXIInd
Dynasty. H. 4^ in.
H P
64 Ushabti of a lady named 'Tent-Amen. From Der-el-Bahari. Faience.
XXIInd Dynasty. H. $}£ in.
T W
65 Fragment of Ushabti, with the name of a Queen Mehtinusekht. Faience.
XXIInd Dynasty.
H W
66 Ushabti of a king. Psamtik. Faience. XXVIth Dynasty. H. 6S/& in.
M
67 Ushabti of a priest named Un-nefer(P). Faience. XXVIth Dynasty. H. 7 in.
H P
68 Ushabti of Anch-em-aka. Faience. XXVIth Dynasty. H. 6}( in.
M
69 Ushabti of a chief priest, named 'Te-her. Faience. XXVIth Dynasty.
H. 6% in.
M
70 Ushabti of a chief priest named 'Te-her. Faience. XXVIth Dynasty.
H. jyi in.
M
71 Ushabti of a chief priest named 'Te-her. Faience. XXVIth Dynasty.
H. 4 in.
H W
72 Ushabti of the chief priest Horuta. Faience. XXVIth Dynasty. H. 9 in.
F P
73 Ushabti of the chief priest Horuta. Faience. XXVIth Dynasty. H. 10^ in.
F P
74 Ushabti of Pa-nefer-mes. Faience. XXVIth Dynasty. H. 8^ in.
R. Pliene Spiers, Esq.
75 Ushabti of Psamtik. Faience. XXVIth Dynasty. H. y}i in.
Charles Butler, Esq.
76 Ushabti of Psamtik. Faience. XXVIth Dynasty. H. 7^ in.
Charles Butler, Esq.
77 Ushabti, with Demotic or Hieratic inscription. Faience. H. 4^5 in.
H P
78 Ushabti of Ser-pa-tek. Faience. H. sH in.
H P
79
79 Ushabti. uninscribed. Wax, coated with bitumen. H. 2% in.
H P
80 Ushabti, uninscribed. FaTence. Ptolemaic period. H. 4}4 in-
H P
81 Three USHABTI, uninscribed. Faience. Ptolemaic period. H. 4^ in. ^
82 Ushabti, uninscribed. Faience, light blue, with cobalt-coloured wig. Ptolemaic
period. H. 4}£ in.
83 Two USHBATI, uninscribed. Faience. H. 3^5 in. ^
84 Ushabti (?), possibly a figure of Osiris. Steatite. Roman period. H. 7 in.
H P
85 Ape-faced Ushabti, uninscribed. Faience. Roman period. H. 3^ in.
T W
The lower shelf contains a selection mostly fragments. The fragments of pottery on
the right hand side, in white, inlaid with grey and other colours, were found by
Professor Petrie at Tell-el-Amarna.
The two fragments of wall decoration, with inlaid fish, papyrus reeds and butterfly,
are also from Tell-el-Amarna.
The inlaid cartouche of Amenophis III. is also from Tell-el-Amarna.
There are a number of draughtsmen of various designs.
F P
On the left hand side are bunches of grapes for wall decoration, found at Tell-el-
Amarna ; a model of a helmet, with fragments of a large bas relief of a helmet
of similar design. These belong to the XVIIIth Dynasty.
The fragments of Pottery mostly belong to the XVIIIth Dynasty.
The fragment of an Ushabti is similar in technique to the celebrated Ushabti of the
Ghizeh Museum. (See drawing in Frame 30.)
The Lion in yellow and purple is of the late Roman time.
The Feet of two Statuettes stand on figures of prisoners.
Case M.
80
SCARABS, CYLINDERS, &c,
WITH NAMES OF KINGS AND OFFICIALS.
DIVISION I.
MEN AS
(late scarab of mena)
NEB-KA and RA-NEFER
IVth DYNASTY.
SNEFERU
KHUFU
KHUFU (king seated before
TABLE OF OFFERINGS)
HIGH PRIEST OF HELIOPOLIS
HIGH PRIEST OF MEMPHIS
KHAFRA (CYLINDER)
KHAFRA (3)
MENKAURA
MENKAURA (cylinder, black
MENKAURA ("large cylinder
SHEPSES-KAF
Vth DYNASTY.
SAHURA (cylinder)
ASSA
ASSA
PTAH-HOTEP (2)
AN
UNAS (2)
Vlth DYNASTY.
PEPY I. (3)
PEPY I.
MENTUEMSAF
RA-NEB-KHA
HOR-NEFER-HON
(alabaster slab)
SMERY
BEBA
F P
F P
F P
H P
F P
F G
F P
F P
F P
F P
F P
F P
F P
H P
F P
F P
F P
F P
H P
F P
H P
F P
F P
F P
Vlith-Vlllth DYNASTY.
NEBY (2) F P
RAH A (sealbearer) F P
RA-EN-KA F P
RA-NEFER-KA (2) F P
RA-NEFER-KA H P
RA-EN-MAA F P
RA-MAA F P
AA F P
RA-AA-HOTEP (2) F P
RA-AA-USER F P
SE-KHAN-RA (2) F P
SE-KHAN-RA H P
IXth DYNASTY.
MAA-AB-RA (2) H P
MAA-AB-RA F P
KHYAN H P
KHYAN F P
YAKEB-HER F P
RA UAZED F P
DUDUMES F P
Xlth DYNASTY.
ANTEF (amethyst) FP
NEBH AT (amethyst) FP
ANTEF (king-s son) F P
MENTU-HOTEP II. (2) F P
ANTEF V. (2) F P
SANKH-KA-RA FP
Xllth DYNASTY.
AMENEMHAT I. (2) F P
AMENEMHAT-ANKH F P
(cat and kitten)
USERTESEN I. (4) F P
AMENEMHAT II. (cylinder) FP
USERTESEN II. F P
USERTESEN II. (2) E
(cylinders)
USERTESEN III.
USERTESEN III.
USERTESEN I.
(large shell)
AMENEMHAT II.
(large shell
F P
H P
H P
USERTESEN III. (2)
(cylinders)
USERTESEN II.
USERTESEN III.
AMENEMHAT III. Miss Br
AMENEMHAT III. (2)
AMENEMHAT IV.
PRIVATE SCARAB
ROYAL favourite
MU-EN-AB
(GOLD PLATE ON AMETH
KEEPER OF ACCOUI
SCRIBE OF SHENT
CHIEF OF
HE SOUTH TH1F
AN KH-TEFI
GUARDIAN OF THE TEMPLE
HEB
RA-MERY
PTAH-MEN
GUARDIAN OF THE BOWS
SEN BF
HOR
KA-KA-EN-THES
OVERSEER OF SLEDGES
8i
F P
KHONSU NEFER and
SEBEKHOTEP
F P
AM EN-M ES
F P
BAKHI
son of MENTUHOTEP
AMENHOTEP 1.
DIVISION II.
AM EN HOTEP 1. Miss B
rockU
THE SETRU
AMENHOTEP 1. (2)
F P
PTAH-URU
F P
(BLUE GLASS EYE)
XI Nth DYNASTY.
F P
CHANCELLOR
AAH-HOTEP II.
SENBSUMA
F P
SANKH-AB-RA
F P
KING'S DAUGHTER
SEALBEARER, KEEPER
SEHOTEP-A B-RA (2)
F P
NEB TA
F P
OF THE FIELDS
RASEBEK-HOTEP
F P
QUEEN
SMERTHA
F P
SEBEKHOTEP
F P
AMEN-MERT
F P
KEEPER OF THE LAND
NEFERHOTEP
F P
TAHUTIMES 1. (2)
F P
MENTU-NESU
F P
NEFERHOTEP
H P
TAHUTIMES II. (3)
F P
SCRIBE OF THE NOME
F P
SEBEKHOTEP III. (3)
F P
HATSHEPSUT (2)
F P
URT
SEBEKHOTEP V.
H P
HATSHEPSUT (2) Miss B
rockU
hurst.
ROYAL SEALBEARER
GENERAL SINEB
KHA-KA-RA
F P
HATSHEPSUT
H P
FOLLOWER AN KH U
F P
AA-AB
F P
RANEFRU
F P
son of MENTUEMHAT
AY
F P
TAHUTIMES III. (2)
F G
AKHA
F P
queen ANA (2)
F P
TAHUTIMES III.
F P
CHIEF OF THE SOUTH THIRTY
S-UAZEN-RA
F P
TAHUTIMES III.
H P
AMENY
F P
SE~BEK~KA~RA (2)
F P
TAHUTIMES III. ("born
AT
F P
ROYAL TREASURER (?)
(cylinders)
THEBES." BRONZE RING)
AMENY
F P
SEBEKEMSAF
H P
ROYAL SEALBEARER
(gold plate on jasper)
PRIVATE SCARABS.
HAR (2)
F P
RA-HAA-NEFER
H P
AMENHOTEP
H P
ROYAL SEALBEARER
F P
SI-SEBEK
F G
ROYAL SCRIBE
SENBTI
AMENHOTEP
F P
LADY OF THE HOUSE
DIVINE FATHER
DOCTOR
AMENHOTEP
UAZTHOTEP born of
F P
SEBEK HOTEP
F P
F P
SITNEMTI
SI-SEBEK-HOTEP
F P
KING'S SON APEK
MIN-ZEFA
F P
LADY OF THE HOI'<=E
H P
SITSEBEK
F P
F P
MIN-NEKHT
F P
DOCTOR ROY
F P
DIVINE FATHER
F P
KINGS SON KUPEPEN
ATMU-HOTEP
AMENHOTEP II.
F G
ROYAL SEALBEARER
PTAHERDUEN (2)
F P
XlVth DYNASTY.
AMENHOTEP II. (2)
H P
SCRIBE OF THE KING'S CROWN
RA-N EFER~AB
F P
AMENHOTEP II.
F P
HER AB
F P
NEFERU l-KA-TAT-UAH
F P
(OF USERTESEN 1. RESTORED
FOLLOWER
BY AMENHOTEP II.)
NEFER HOTEP
F P
KHA-KH EPER-N EFERU 1
H P
AMENHOTEP II. ("born
AT
F P
(long cylinder)
MEMPHIS")
CITIZEN, ROYAL PRIEST
NEFER HOTEP
F P
UAH-TAT-N EFER
H P
TAHUTIMES IV.
F P
KEEPER OF THE PALACE
(long cylinder)
TAHUTIMES IV. (ring)
F P
KEEPER OF THE CROWN
AVItn UYINAo 1 Y.
AMENHOTEP III.
H P
PUSENBA
F P
AMENHOTEP III. (10>
F P
ROYAL SEALBEARER
APEPA (6)
F P
LARGE SCARABS WITH
NEB-ER-HEB
F P
RAHOTEP (3)
F P
VARIOUS PHRASES OF
GREAT SCRIBE OF SEALBEARERS
HONOUR
NEHESI
KEEPER OF THE SEALS
F P
XVII Ith DYNASTY.
AMENHOTEP III. and
QUEEN THYI
F P
OF THE PALACE
AAHMES 1. (2)
F P
AMENHOTEP III. MusB
rocklehurst.
IMUAH (3)
F P
AAHMES 1.
F G
and QUEEN THYI
SEBEKHOTEP
F P
NEFERTARI
F P
AMENHOTEP III.
M
82
AMENHOTEP III. F P
(silver ring)
queen thyi (blue glazed k
KNOB)
QUEEN THYI (2) F P
CHIEF OF POLICE
RA-MERY (BLUE PASTE BEAD) E
AKHENATEN H P
AKHENATEN (4) F P
CARTOUCHE OF ATEN (3) F P
NEFERTYTHI F P
NEFERTYTHI H P
RA-SMENKH-KA F P
RA-SMENKH-KA H P
ATEN-MERT F P
A N K H-S-PA-AT E N F P
ANKH-S-AMEN F P
TUT-AN KH-AM EN (large,
TWO CARTOUCHES)
Sir George Curtis Lampson.
TUT-AN KH-AM EN (blue F P
GLAZED KNOB)
TUT-AN KH-AM EN (2) F P
(GLASS AND BRONZE RINGS)
AY (2) F P
DIVISION III.
HOREMHEB (3) (scarab. F P
RING AND BEAD)
HOREMHEB (double H P
CARTOUCHE RING)
MUT-NEZEMT (ring) FP
XlXth DYNASTY.
RAMESSU I. (3) F P
SETY I. (3) (a large F P
CYLINDER)
RAMESSU II. (4) (gold ring, F P
CARNELIAN RING)
RAMESSU II. Miss Brocklehurst.
(SET IN RING)
RAMESSU II. (jasper sphinx) E
RAMESSU II. H P
NEFERTARI (2) F P
PRIVATE.
VIZIER
PA-SAR (GREEN BEAD) F P
ROYAL SCRIBE, KEEPER OF
PALACE
BAK EN AMEN (tablet) F P
FAN BEARER, ROYAL SCRIBE,
KEEPER OF THE HAREM
RA-MESSU-USER-HER- F P
KHEPSH (tablet)
ROYAL SCRIBE, KEEPER OF
HORSES
PTAH MES F P
(CARNELIAN SNAKE AMULET)
MER-EN-PTAH (2) F P
SETY II. (3) F P
SIPTAH F P
TAUSERT F P
XXth DYNASTY.
RAMESSU III. (2) F P
RAMESSU IV. (2) F P
RAMESSU V. (2) F P
RAMESSU VI. F P
RAMESSU VII. F P
RAMESSU VIII. F P
RAMESSU X.(2) F P
RAMESSU XI. (P) F P
RAMESSU XII. (P) F P
XXIst DYNASTY.
PA-SEB-KHANU (2) (green F P
GLAZED TABLET: SAN)
SIAMEN (2) F P
PASEBKHANU (2) F P
(BEAD AND RING)
PA-NEZ-EM II. F P
XXIInd DYNASTY.
SHESHENK I. (3) F P
OSORKON I. (3) F P
SHESHENK III. F P
WAPUT F P
WAPUT H P
PIMAY(P) (2) F P
XXIIIrd DYNASTY.
SHESHENK IV. (2) F P
XXVth DYNASTY.
PA-ANKHY (P) FP
SHABAKA H P
SHABAKA (3) F P
SHABAKA H M
SHABAKA H P
SHABATAKA (blue bead) F P
TAHARKA (2) F P
KASHTA F P
RAMEN-HOR (2) F P
RAMEN-Y F P
RAMEN-AB (2) F P
RAMEN-KA FG
RA-MAU-NEB F P
RA-TAT- F P
XXVIth DYNASTY.
PSEMTHEK I. (2) F P
PSEMTHEK I. (2) H P
NEKAU F P
HAABRA F P
HAABRA Tbead) K
AAHMES-SI-NEIT (2) F P
(MENATS)
XXXth DYNASTY.
NEKHT-HOR-HEB (tablet) K
NEKHT-NEB-F F P
(PART of menat)
NEKHT-NEB-F (tablet) HP
PRIVATE SCARABS AND
RINGS.
UAH-AB-UAH-AB-RA-ANKH F P
MAU F P
vizier HOR-SI-AST F P
HORY F P
NESI-MIN F P
PEDUNEIT FP
PEDU-BAST H P
UAZIT-ZEFA H P
PAPA Ul HP
KING DANCING BEFORE GODDESS H P
WISH SCARAB
SCARABS, WITH SCROLLS, &c. I'll) F P
AMETHYST SCARAB " HOTEP-RA-
EN-KHEPER" Miss Brocklehurst.
16 SCARABS JOINED T W
DIVISION IV.
LARGE SCARABS OF
AMENHOTEP III.
LION HUNT INSCRIPTION K
(FROM ILLAHUN)
§3
LION HUNT INSCRIPTION (FROM
University Coll: Edwards Col.
SAME F P
SAME Walter L. Nash, Esq.
MARRIAGE INSCRIPTION (FINE M
BLUE GLAZE)
8AME M G
SAME H P
SAME University Coll: Edwards Col.
HEART SCARABS OF PRIVATE
PERSONS.
PAY (XIXTH DYNASTY) F P
AIMHOTEP
F P
F G
NESI-NEFER-ATMU H P
SETA E
KEDNUF H P
DEDICATED TO OSIRIS UNNEFER
OF DENDERA, BY HOR
Rev. Herbert Wilson.
H P
MES: ALTERED FOR SCRIBE H P
OF TEMPLE OF BAST
NESI-PTAH, son of
SAME OFFICIAL
AA-HOTEP-NUB
scribe ZA-NEFER altered
FOR PRIESTESS OF AMEN
THAT-MES j.TraversSmith,Esa.
AA-NERAU, son of HP
ZED-BAST- AUF-ANKH
born of TA-AA-NERAU
MAY E
NAME ERASED E
BLUE GLASS (UNINSCRIBED) M
BLUE FAIENCE (UNINSCRIBED) M
CRYSTAL, HOLLOWED, AND F P
PAINTED WITH PHOINIX
" BENNU SON OF RA : "
AND PLATE OF BLUE
GLASS TO COVER THE
BACK, FOR AUF-ER-
N EH EH XIXth
DYNASTY GUROB
LAZULI (UNINSCRIBED) M
BLUE GLASS (UNINSCRIBED) H P
BLUE PASTE (UNINSCRIBED) H W
BLUE FAIENCE (UNINSCRIBED) M
AMETHYST (UNINSCRIBED) K
DARK BLUE FAIENCE (UNINSCRIBED) M
SMALLER SCARABS.
BLUE GLAZED (2)
AMETHYST
BLUE GLAZED (2)
Division V.
1 FOUR Bricks. Painted green, with black inscription; name of Rameses II.
From the foundation deposit of a temple. Faience. About L. 9 in.,
in., H. \% in.
H W
Division VI.
1 BRICK. Painted green. Inscription in black: names and titles of Rameses II.
From the foundation deposit of a temple. Faience. L. 14 in., W. 7 in.,
H. 2V2 in.
H W
2 Fragment OF a Plaque for mural decoration. Leaf, with inlaid rosettes.
Polychrome faience. From Tell-el-Amarna. XVII Ith Dynasty. W. 2 in.,
L. ili in. by 10 in.
H W
3 Fragment of a Plaque for mural decoration. Lotus flower. Polychrome
faience. From Tell-el-Amarna. XVI I Ith Dynasty. W. 2 in.
84
4 Plaque for mural decoration, in form of a cartouche, with the name of Seti II.
Yellow and blue faience. Fragment. XlXth Dynasty. L. 3 in. by 10 in.,
W. \% in.
H W
5 Plaque for mural decoration, in form of a cartouche, with the name of Seti II.
White and brown faience. XlXth Dynasty. L. 3^ in., W. 1^ in.
M G
6 Three Small Glazed Bricks, with the name of " The servant of the beer
(house?)" Sitaou, devoted to Osiris. Blue faience. XVIIth Dynasty.
L. 1 % in., W. yA in., H. % in.
Liverpool Museum.
Division VII.
1 Two Fragments of a Stele, of blue glazed ware, with black painting.
Ankh-pa and his family adoring Harmakhis and Atum. XXIst Dynasty.
W. 9. in., H. W2 in.
H W
2 Fragment of the Hieroglyph, "Life." Blue glazed ware, painted black.
The beginning of the offering formula (stu di hotep). Faience. XVII Ith
Dynasty. W. 4 in.
H W
3 Fragment of the Hieroglyph, "Life." White glazed ware. XXIInd
Dynasty. W. Sj4 in.
H W
4 Three Tiles. Blue glazed ware. About L. 6 in., W. 3% in., H. V2 in.
H W
5 Fragment OF A Stele, representing in low relief the chief of the workmen
Ptah-em-heb, and his wife, adoring Bast. Blue faience. XlXth Dynasty.
H. s in.
H W
6 Two Fragments OF a Wig, and the diadem in blue glazed ware, painted black.
Faience. New Empire.
H W
7 Fragment of a Tile. Rough engraved Inscription. Blue faience.
Ptolemaic period. H. xyi in.
H W
85
Division VIII. GLASS.
Contains a selection of glass mosaic and some sticks from which the mosaics are
sliced. At the top is ranged a series of the gods in coarse semi-opaque glass,
including a representation of Set; in the second line are amulets. These are all of a
comparatively late period, and it is stated have been placed in the bodies of mummies.
The portion of a hawk's head below has belonged to a canopic vase. The fragments
in single colours may have been for mural decoration. The finer and more delicate
mosaics were probably applied to personal ornaments, furniture and caskets. The
fragment with a winged Eros in white on a blue ground is similar in technique to the
Portland vase (this piece has probably been in a fire). This suggests that the
Portland vase is of Egyptian fabrication, the art is certainly Hellenistic, of the
Alexandrian school. One of the small CEnoche was found at Pompeii, a city where the
art showed a strong influence of the school of Alexandria. The sphinx in blue glass
has a layer of white glass behind the surface, in order to heighten the colour. Some
of the fragments of mosaic were obtained at Rome, but that does not militate against
their Egyptian attribution, since a portion of the Roman tribute in the time of the
Empire, included glass. The objects placed near the small mask in yellow with blue
hair are of an earlier period.
Division IX.
Pectorals are a somewhat rare form of ornament found upon the breasts
of mummies. They have some connection with the Heart Chapter in
the Ritual of the Dead, as that is the Chapter found upon them when
any portion of the Ritual is inscribed. They are made of various
materials : gold, silver, bronze, stone, faience, wood and composition ;
their usual shape is that of a naos or shrine. The subjects on the
pectorals vary greatly ; those made in the precious metals have but
little resemblance to the more ordinary faience or other material. The
usual subjects found on these latter are either the deceased adoring a
god, or Anpu seated on a shrine with accessories, or Cheper (the scarab)
in his boat, with Isis and Nephthys adoring.
1 PECTORAL, in the shape of a shrine, pierced at the top for suspension. On the
obverse, a priest, standing before a table of offerings, adoring Osiris ; on the
reverse, a priest adoring Anubis, seated on the top of a shrine. FaYence
blue glaze and purple lines for the drawing. XlXth Dynasty.
Size, $}i in. by 2>% in.
H W
86
2 Pectoral, in the form of a shrine, pierced at the top for suspension. On the
obverse, two figures of Anubis facing each other, collared, and holding
sceptres, with flails behind, each seated on the top of a shrine ; on the
reverse, a Tat between two knots. Faience, blue glaze and purple lines for
the drawing. XlXth Dynasty. Size, 4^5 in. by 3^ in.
M
3 Pectoral, in the shape of a shrine, pierced at the top and bottom for suspension.
On the obverse, Anubis, collared, seated on the top of a shrine, with flail
behind; above, a line of inscription "Anpu, the chief of the divine house."
No reverse. Faience, blue glaze and purple lines for the drawing.
XVIIIth or XlXth Dynasty. Size, 2^ in. by in.
4 PORTION OF A Pectoral, in the shape of a shrine, pierced at the top and bottom
for suspension. On the obverse, formerly the scarab Chepera in his boat,
and, standing on the boat, Nephthys adoring ; on the reverse, a priest
standing adoring before a table of offerings. XlXth Dynasty. H. 4^ in.
H W
5 PECTORAL, in the shape of a shrine, pierced at the top and bottom for suspension.
On the obverse, the scarab Chepera let in, with two figures standing on his
boat adoring ; on the reverse, the back of the scarab lined, but uninscribed,
on either side of it, a kneeling figure adoring, above, a winged disk, and
below, a line of inscription : " The sculptor of the monuments of Amen
Annu-ra." Faience, blue glaze, purple lines for the drawing. The scarab
black. XlXth Dynasty. Size, 4$A in. by aM in.
H W
6 Pectoral, in the shape of a shrine, with a row of urcei with disks on the top,
two holes for suspension at the bottom. On the obverse, in the cornice, a
winged disk ; below, a Latus fish and lotus flower, and in the lower compart-
ment, a figure standing adoring Khnum seated, and behind him a goddess
standing, wearing a uraeus and fish crown, with imitative hieroglyphics in
panels, and a lotus flower. Faience, light green glaze, with black head-
dresses and squares. Size, 3^ in. by 4% in. XXI I nd Dynasty.
M
7 PECTORAL, in the shape of a shrine, pierced at the top for suspension. On the
obverse, Anubis seated with a flail. Faience, blue glaze, with dark blue
figure. This figure appears to have been made by means of a stamp. No
reverse. From Ahmim. Size, 2^s in. by 2}& in.
H P
87
8 PORTION of a Pectoral. On the obverse, in the centre, a blue glass scarab
let in, resting on the boat of Chepera, standing at each end are figures of
Osiris ; on the reverse, the back of the scarab, and Tat on one side, a
buckle on the other. Wood, gilded and inlaid with glass, the bodies of the
figures alabaster. L. 4}i in.
M G
9 Pectoral, in the shape of a shrine, pierced with a hole at each corner for
suspension. On the obverse, in the cornice, a winged disk, below, two fishes
and a seated cat. No reverse. Faience, white glaze. From Bubastis.
XXIInd Dynasty. Size, 2}& in. by 2^5 in.
H P
10 Pectoral, the left hand side of a remarkably beautiful specimen of inlaid glass
and alabaster work, representing Nephthys kneeling in a position of
adoration within a naas. Drah abu'l Nekkah. H. 3^ in.
HP
11 Pectoral, in the shape of a shrine, pierced at the top for suspension. On the
obverse, Anubis collared, seated on a shrine, with flail behind, in front, a
table of offerings, above, an inscription ; on the reverse, a papyrus sceptre, a
column, a Tat, and a buckle. Faience, dark blue glaze, with green lines
for the decoration. Size, 3^ in. by 2,% in.
12 PECTORAL, in the shape of a shrine, pierced at the top and bottom for suspension.
On the obverse, two tats between two buckles ; on the reverse, a priest
kneeling before the god Anubis, above, a line of inscription. Faience, blue
glaze and purple line for the drawing. XlXth Dynasty. Size, 3^ in. by
lyZ in.
H P
13 Pectoral, in shape of a naos or shrine, surmounted by a row of seven urcei
v/earing disks, beneath which, in pierced work, is the figure of Rameses III.,
kneeling before Amen-Ra, making an offering to him, Chonsu stands behind
Amen-Ra, and Mut supports the King. Above the King's right hand are two
cartouches with his names inscribed on them. Bronze, has been gilded, and
inlaid with glass and mother-of-emerald. XXth Dynasty. Size, 4}& in. by
SH in.
H P
14 Pectoral, in the shape of a shrine, pierced at the top for suspension. On the
obverse, Anubis collared, seated on a shrine with flail behind, between two
Tats, above, an inscription. No reverse. Wood, formerly inlaid. Size,
4)4 in. by 3^ in.
H W
88
Division X. IVORY.
1 A VERY LARGE Castanet in the form of an arm and hand. Ivory. L. 17 in.
2 Ape, seated. On the base, two seated apes. Ivory. H. 1% in.
T W
3 An Object in the form of an elephant's tusk, possibly a charm. On it are
engraved various mythical animals. Ivory. L. 14^ in.
Liverpool Museum.
4 Fragment of an object in the form of an elephant tusk, possibly a charm.
Ivory. L. 8^ in.
Mrs. Goodison.
5 A pair OF Castanets, in form of arm and hand. Ivory. L. 6}& in.
T W
6 Fragment engraved with recumbent lion. From Kahun. Bone. Xllth
Dynasty. L. 4^ in.
7 Doll. Ivory. H. 4^ in.
H W
8 A CASE for Needles, perhaps. Ivory. L. 5 in.
9 Taurt. Ivory. H. 5^ in.
K
10 Six Objects, three with carved heads, probably for inlay on a box or staff.
Ivory. L. 7% in.
F G
11 Hawk. Inlay in wood and ivory. Gurob. XVIIIth Dynasty. H. 2}i in.
F P
12 Portion of a Lion-headed Figure. From Kahun. Ivory. X I Ith Dynasty.
F P
13 Handle of a Sword, or Dagger. Bone (?) L. 4^ in.
Liverpool Museum.
89
Division XI. GLAZED SCHIST.
The earliest examples of glazed mottled-green schist are the cylinders bearing
cartouches of the Vlth Dynasty, the latest pieces of glazed schist belong to
Roman times. The splendid head from a sistrum in the centre of the Case bears the
cartouche of Usestesen I. The Kohl pot with open work, to the left, bears the
cartouche of the Royal Princess Mernub, said by Mr. Leiblein to belong to the
XVIIIth Dynasty. The Kohl pots to the right, and those beneath, belong, also, to
the same period, also the CEnoche, with the broken handle, above. The pectoral
beneath, with a winged scarab carved on the reverse, belongs to the same time. The
semi-circular plaque is inscribed: "President of the prophets, president of the gate of
the foreign lands, duke of the town, Ment-em-hat, son of the prophet of Amen, the
duke of the town, Nes-ptah, president of the double house of the Ra priests of the
temple of Ha-pa-tuin." Ment-em-hat was the son of Nes-ptah, prince of Thebes.
XXVth Dynasty. The crocodile bears the cartouche of Amenhotep III. The
plaque at the right-hand corner below, has on one side a deity, winged, and
piercing a serpent with a spear. The features are those of Bes, the name of the god
is lost from a fracture in the stone. It may be Sopt, but it is more likely to be
Set, with some attribute of Horus. The reverse shows a ram-headed Sphinx reclining
on a sculptured base, and wearing a head-dress consisting of horns, disk and feathers
with two uraci. The inscription gives the name of the ram as " Amen-Ra, divine
King." It is the rare Rehcri of Amon, known on monuments of Amenhotep III.,
and the original of Jupiter Ammon. See Proc. Soc. Bib. Arch., Jan., 1894 (compare
with No. 10, Case K, Liverpool Museum). Beside this piece is a fragment of similar
style, the winged deity is thrusting his spear into a serpent.
1 HEAD from a sistrum. Xllth Dynasty. H. 2^ in.
M
2 CEnoche. XVIIIth Dynasty. H. 3^ in.
M G
3 KOHL Vase. XVIIIth Dynasty. H. 2 in.
H W
4 Kohl Vase. XVIIIth Dynasty. H. 2% in.
H P
5 Kohl Vase. XVIIIth Dynasty. H. 2% in.
T W
6 Pectoral. XVIIIth Dynasty. H. 2% in.
H W
7 Semi-circular Plaque. XXVth Dynasty. D. 3 in.
H W
8 Crocodile. XVI Ith Dynasty. L. 2 in.
H W
9 Plaque. XlXth Dynasty. H. 2^ in.
M G
10 Plaque. XlXth Dynasty. H. 2 in.
H P
90
Division XII. SAIITIC POTTERY.
37 Neck of Vase. (For the shape of vase, see No. 174, Case E.) H. 1% in.
H W
38 Sceptre of the Goddesses. The sign uaz (green). H. 3^ in.
H W
39 Tat. H. 45/ in.
H W
40 Neck of Vase. Lotus flower capital ; below, a monkey. H. 2]A in.
H W
41 Portion of Sistrum. H. 5 in.
H W
42 Stand for a Royal Hawk. Ornamented with the symbols of union.
Inscribed with the name of a high priest, Har-si-ese H. 35^ in.
H W
43 Plaque, bearing the name of King Ahmes. 2^ in. square.
H W
44 Sistrum. The head of Hathor below ; above, a naos, human-headed hawks,
and a figure of Maat at the top. H. 1 1 in.
H W
45 Fragment of Bast in open-work. H. 2 in.
H W
46 Plaque. A Tat, between and surmounted by symbolical ornaments, in low
relief. H. 5% in.
H W
47 Bowl.
48 Tat. Pale green colour. H. 7 in.
H W
49 Hathor Head, in low relief. H. % in.
H W
50 SPOON. Rosette in bowl ; on the flat portion, a man leading a calf and carrying
fish hanging from a stick across his shoulder; the whole in low relief.
L. 4 in.
H P
51 Votive Offering, a naos ornamented with an apis. H. 1 y2 in.
H W
The examples which are noiv white were originally pale green.
9i
Division XIII. SAIITIC POTTERY TO No. 26.
19 POT. Green ground. H. Vx in.
H W
20 Portion of a Statuette of a Harper. H. \yi in.
H W
21 PORTION OF a Bowl. Turquoise ground, mottled with dark blue. L. 3^ in.
H W
22 Toilet Pot. (From Alexandria.) D. 2 in.
H W
23 Bowl. Pale green colour. D. 5 in.
H W
24 A Monkey, holding a vase. H. 5 in.
M G
25 Two Small Vases, with heads of Bes. H. yi in.
H W
26 Fragment of a Bowl. Rosettes in open-work round rim, frogs on rim, fish
inside. Both in relief. L. 4 in.
H W
27 Head of a Horse. (Found in Macedonia.) L. 2% in.
H W
28 Statuette of a Goddess, head missing. This and the following Nos. of this
Division came from Alexandria, and were probably made in that city in
Ptolemaic times. H. 3 in.
H W
29 Portion of a Vase, figure in relief. H. 4^ in.
H W
30 Portion of a Vase, figure in relief. See the inscribed vase in British
Museum. H. 5^ in.
H W
31 Portion of a Vase, figure in relief. H. 4V, in.
H W
32 Statuette. Venus Anadyomene. H. i1/ in.
H W
33 Statuette. Venus. H. \yz in.
H W
34 Statuette. Eros. H. 1^ in.
H W
35 Head. H. 1% in.
H W
36 Pot. D. 1% in.
H W
92
Division XIV. NAUCRATIS POTTERY.
1 ARYBALLOS. The body covered with cross-hatching, incised. From the Delta.
H. 2 in.
H W
2 Aryballos. In form of hedgehog. L. 2^ in.
H W
3 Aryballos. Found at Kamiros, at Rhodes. H. 2\i in.
H W
4 Aryballos. Similar to No. i. From yEgina. H. 2 in.
H W
5 Cup, with two handles. Incised ornamentation of Greek motives. H. 2^ in.
H W
6 Bowl. Incised rosette in centre, wreaths and festoons above. D. 4% in.
H W
7 Cup, with two handles. Egyptian and Greek motives of ornamentation, incised.
H. 2% in.
H W
8 BOTTLE. Bands of ornamentation incised, and in low relief. H. 5 in.
H W
9 GEnoche. Three bands of incised ornament on the body; handle missing.
H. 3 in.
M
10 Bowl, ornamented outside with rosette, festoons, and band of waves. D. 7>}i m«
H W
11 Upright Vase. Pale green ground, ornamented in dark grey blue, with band
of chevrons at top, conventional scroll below, imbrications at bottom. H. 3 in.
F P
12 HEDGEHOG. Fawn-coloured ground. Bosses in pale grey. L. 2 in.
H W
13 Bowl, with two lions in the round on rim. Incised rosette inside at bottom.
D. 3 in. (Compare with No. , Case .)
H W
14 Spouted Bowl, with two lions on rim in the round, incised rosette inside at
bottom. Green colour. D. in.
H W
15 Spouted Bowl, with two lions in the round on rim, incised rosette inside.
D. 23/ in.
H W
93
16 Two Fragments, (i) Winged Eros, in the round, on incised palmettes.
H. l}i in. (2) Portion of a Vase, a dancing satyr and men with swords.
17 SPOUTED BOWL, a lion on rim, incised rosette in centre. D. 2}i in.
H W
18 Fragment of a Bowl, with band of ornament. H. 2 in.
H W
For an account of the pottery of Naucratis, see two volumes of the Egypt
Exploration Fund series, the first by Professor Flinders Petrie, who discovered the
remains of the ancient city, and the second by Professor Ernest Gardner.
Case N.
The Pottery in this Case, with two or three exceptions, dates from the
Middle Empire to the Ramesside period, the time when the blues
were the most brilliant, and the glazes the finest.
1 Hippopotamus. Lotus flowers painted on back and sides ; legs broken off.
Blue faience. Xllth Dynasty. L. $l/2 in.
H W
2 Utright Vase. So-called imbricated, really feather ornamentation. Blue faience.
XVIIIth Dynasty. H. 3^ in.
M
3 Drop-shaped Vase. Greenish-blue faience. Ramesside period. H. 5 in.
M
4 Upright Vase. Blue faience. XVIIIth Dynasty. H. 51^ in.
M
5 Drop-shaped Vase. Blue faience. XXIInd Dynasty. H. 6% in.
M
6 LOTUS Cup, on stem. Ornamentation in bas-relief. Blue faience. XlXth Dynasty.
H. sVz in.
M
7 LOTUS Cup, on stem. Ornamentation in bas-relief. Blue faience. XlXth Dynasty.
H. 5% in.
M
94
8 Lotus Cup, on stem. Ornamented in bands — (i) sacred eyes ; (2 and 3) the
king slaying a captive ; (4) lotus leaves. Inverted papyri plants on stem,
the whole in bas-relief. Blue faience. XXIInd Dynasty. H. 6% in.
M
9 Cup, on foot. Cup divided into six lobes. Ornamented in lines vertical in
relief. Blue faience. XVIIIth Dynasty. H. 3 in.
M
10 Libation Vase, with cover. Ornamentation in black wavy lines.
Blue faience. Ramesside period. H. 1 1 y2 in.
F G
11 Thistle-shaped Vase, on a foot. Ornamentation in black lines, black
inside. Blue faience. XlXth Dynasty. H. 4 in.
M
12 LOTUS Cup, on stem. Ornamented in bands — (1) vultures and papyri;
(2) the king receiving the sword from divinities and slaying enemies ;
(3) the king in his chariot slaying enemies ; (4) papyri, the whole in relief.
Blue faience. XXIInd Dynasty. H. S24 in-
M
13 Lotus Cup, on stem. Ornamentation in bas-relief. Blue faience.
XlXth Dynasty. H. in.
M
14 Lotus Cup, on stem. Ornamentation in bas-relief. Blue faience.
XlXth Dynasty. H. 5 in.
M
15 BOWL. A band of inscription, illegible, containing a cartouche of Schek-
hotepIII.(?) (Ra-kha . . . .) Dark blue faience. Middle Empire. H. 3^ in.
M
16 Upright Vase, with pointed base. Ornamentation in black lines. Dark
blue faience. H. \%i in.
H W
17 Ribbed Basket-shaped Pot, with cover. Ornamented in black lines.
Blue faience. Ramesside period. H. 4 in.
M
18 HIPPOPOTAMUS. Seated with its head turned, the mouth open; the body is
ornamented with lotus flowers and bands of chevrons. Blue faience.
Xllth Dynasty. H. i]A in. L. 4% in.
H P
19 Ribbed Basket-Shaped Pot, with cover. Blue faience. Ramesside period.
H. y/2 in.
95
20 SlSTRUM. A naos surmounting a Hathor head, above, Maat before Shu and
Tefnest. Dedicated to Bast. Blue faience. XXIInd Dynasty (?). H. 9% in.
M
21 POT, with lip. A band of chevron ornamentation in black. Pale blue faience.
Xllth Dynasty (?). H. 2% in.
Walter L. Nash, Esq.
22 Globular Vase, with lip. Blue faience. XVIIIth Dynasty. H. 2 in.
H W
23 Bowl. Ornamented in the inside with Hathor heads ; on the outside with an
open lotus flower. Blue faience. XVIIIth Dynasty.
H W
24 Tazza. Ornamented with a black line on rim. Blue faience. XlXth Dynasty.
D. iV in.
H W
25 Pot. Ornamented with zig-zags between vertical lines, incised and painted
purple. Blue faience. XlXth Dynasty. D. 2 in.
H W
26 Cover of a Pot. Ornamented with lines. Blue faience. Ramesside period.
M
27 Bowl. Ornamented on the inside with a frond in centre, lotus flowers and buds
springing from it ; on the outside with an open lotus flower, painted in dark
purple. Blue faience. D. \olA in.
HP
28 Aryballos, with cover. Ornamented with lines and a band of chevrons.
Blue faience. XVIIIth Dynasty. H. 2% in.
H W
29 Pot, with lip, on small foot. Blue faience. XlXth Dynasty. H. 2 in.
H W
30 Lotus-shaped Vase on foot, with cover. Ornamented on outside with open
lotus in black lines. Blue faience. XlXth Dynasty. H. \ VX in.
H W
31 Bowl. Ornamented on inside with lotus flowers and buds springing from centre,
on the outside with open lotus flower. Blue faience. XVIIIth Dynasty.
D. 3^ in.
H W
32 Figure of Ptah holding cats, and with serpents coming out of his mouth ;
two scarabs on the top of head. Blue faience. XXIInd Dynasty. H. 3 in.
M
96
33 Thistle-shaped Pot, on foot. Ornamented with lotus leaves springing from
foot. Blue faience, black inside. XVIIIth Dynasty. H. 3% in.
H W
34 FIGURE OF Ptah holding two feathers, and standing on two crocodiles, snakes
coming out of his mouth, a scarab on the top of head ; behind, a winged
figure of Maat. Sacred eye incised on base. Blue faience. XX I Ind Dynasty.
H. 2% in.
M
35 Kohl Case, composed of three reeds. Chevrons and dots, painted in black on
the straps uniting them. Blue faience. XXIInd Dynasty. H. 3^ in.
H W
36 KOHL CASE, composed of two reeds. Blue faience. XlXth Dynasty. H. 4^ in.
H W
37 Statuette, form of Ammon. Human body with ram's head, surmounted
with disk and horns ; behind, the wings and tail of a bird. Blue faience.
Ptolemaic (?). H. 3^ in.
M
38 Figure of an Ape holding an object. Dotted with black. Blue faience.
XlXth Dynasty. H. 2% in.
H W
39 Two FIGURES OF Bes, standing back to back. The plumes have been inlaid
with ivory, one piece remaining. Blue faience. XVIIIth Dynasty.
H. 2% in.
H W
40 BOWL. Ornamented with a geometrical development of the lotus pattern in
black on the inside, a star on the outside. Blue faience. XVIIIth Dynasty.
D. 4^ in.
F G
41 Bowl. Ornamented with fish having lotus flowers in their mouths, chevron
border ; on the outside, an open lotus flower in purple outline. Blue faience.
XVIIIth Dynasty. D. W2 in.
H W
42 Portion of a Bowl. Ornamented on the inside with a rosette in centre,
surrounded by fish and bands of lancet-shaped points ; on the outside, an
open lotus flower. Blue faience. XVIIIth Dynasty. D. 6 in.
H W
43 PORTIONS OF A Bowl. Ornamented on the inside with a rosette in centre,
surrounded by fish and lotus flowers, bordered by a chevron pattern ; on the
outside, a rosette in centre, with bands of chevron patterns in dark blue.
Blue faience. XVIIIth Dynasty. D. 5^ in.
97
44 Bowl. Pond or tank in centre, from which spring lotus flowers and
buds, chevron border ; the outside, an open lotus flower. Blue faience.
XlXth Dynasty. D. 7 in.
H W
45 Stibium Pot, with cover. Ornamented on cover, with a rosette on vase, by
an open lotus flower, in purple lines. Blue faience. Ramesside period.
H. l% in.
M
46 Bowl. Ornamentation for a tank in centre, surrounded by fish, having in their
mouths lotus flowers for the inside ; outside, an open lotus flower. Blue
faience. XlXth Dynasty. D. 5^ in.
H W
47 Upright Box. Incised ornamentation of three lotus flowers. Blue faience.
Ramesside period. H. 2^ in.
M
48 Ring, with inscription relating to Ammon on the bezel. Blue faience.
XXIInd Dynasty (?). Length of bezel, 2^ in.
M
49 Ring. Ornamented with lotus flowers in open work. Blue faience.
XXIInd Dynasty. H. % in.
M
50 Ring. Ornamentation, horns seated on lotus flower, winged snakes, a tat, &c,
in open work. Blue faience. XXIInd Dynasty. H. 1 in.
M
51 DRAUGHTMAN. A captive, hair and beard painted black. Blue faience
XXIInd Dynasty. H. 1 in.
M
52 Head of A Woman from a statuette. Hair, eyes, eyebrows and two lines
on cheeks painted black. Blue faience. H. ilA in.
M
53 ARYBALLOS, with two handles. Bands of circles and pointed leaves below lotus
flowers painted in black. Blue faience. H. 1 3/ in.
M
54 Long-necked Vase, with lip. Blue faience. H. 1 ^ in.
M
55 Ring. Lotus flowers and Maat in open-work. Blue faience. XXIInd Dynasty.
H. yA in.
M
56 Ring. Seated Bast with frieze of kittens below, standing from the ring, on which
are lotus flowers in relief. Blue faience. XXIInd Dynasty. H. x/2 in.
M
98
57 Ring. Lotus flowers and Maat in open-work. Blue faience. XXI Ind Dynasty.
H. % in.
M
58 Ring. Lotus flowers in open-work. Blue faience. XXI Ind Dynasty. H. ^ in.
M
59 RING. Lotus flower and Maat in relief. Blue faience. H. ^ in.
M
60 Reel. Ornamented, with rosettes in relief. Blue faience.
M
61 Reel. Ornamented, with rosettes in relief. Blue faience. XXI Ind Dynasty.
D. 13/ in.
M
62 BOWL. Inside, ornamented with three fish and three lotus flowers; outside.
open lotus flower painted in black. Blue faience. XlXth Dynasty.
D. 4% in.
M
63 Drop-shaped Vase. Open lotus flower painted in black. Blue faience.
XlXth Dynasty. H. 2% in.
M
64 Lotus-shaped Vase. Open lotus flower painted in black on outside.
Blue faience. H. in.
M
65 Beaker-shaped Pot. Blue faience. X I Xth Dynasty. H. i y2 in.
Rev . Herbert Wilson.
66 Beaker-shaped Pot. Blue faience. XlXth Dynasty. H. \% in.
M
67 BOWL. Ornamented in inside with open lotus flower. Blue faience.
XlXth Dynasty. D. 4 in.
Rev. Herbert Wilson.
68 PORTION of Column. Titles and cartouches of Amenhotep II., incised and
painted in black, from Nubt. Blue faience. 8 in.
M G
69 Head of Canopic Vase, hawk head. Painted in black lines. Blue faience.
XX 1st Dynasty. H. 2 in.
M
70 Head of Canopic Vase, Anubis head. Painted in black lines. Blue faience.
H. 4 in.
M
99
71 Portion of Canopic Vase. Ornamentation, Anubis, Nepthis, Kebh senuf ;
belonging to hawk-headed vase: name of Set-em-heb. Blue faience.
XVIIIth Dynasty (?). H. 6% in.
M
72 Portion of Hathor Cow, in relief. Ornamented with purple spots.
Blue faience. XVIIIth Dynasty. L. \% in.
Rev. Herbert Wilson.
73 Pair OF Balls. Ornamentation, purple stripes. Blue faience. XlXth Dynasty.
D. in.
M
74 Bowl. Ornamentation, open lotus flowers inside and outside. Blue faience.
XVIIIth Dynasty. D. 4% in.
M
75 CENOCHOE. Ribbed, and with lotus flower and relief on handle. Blue faience.
XlXth Dynasty. H. 2% in.
M
76 Arybullos. Ribbed. Blue faience. XlXth Dynasty. H. 2]/2 in.
M
77 Short alabastron shaped Vase, with two handles. Ornamentation, a band
of black dots. Blue faience. XVIIIth Dynasty. H. 2 in.
M
78 Bowl. Ornamentation, lotus flowers between a band of chevrons in black on
inside, spots on rim. Blue faience. XlXth Dynasty. D. 3^3 in.
M
79 Bes. In relief. From Thebes. Blue faience. Period of Seti I. H. 5 in.
Ralph Bankes, Esq.
80 Drop-shaped Vase, a ring in relief on neck. Blue faience. XXIInd Dynasty.
H. 5^ in.
M
81 Fragment of Vase. Inscribed with portions of cartouches of Amenophis IV.
and his Queen in purple. Blue faience. XVIIIth Dynasty. L. 2 in.
M
82 Portion of a Wig, in relief. From Thebes. Blue faience. Period of Seti I.
H. 4% in.
Ralph Bankes, Esq.
83 Drop-shaped Vase. A ring in relief on neck. Blue faience. XXIInd Dynasty.
H. 5 X in.
IOO
84 Statuette of Qeb senuf. Blue faience. XXth Dynasty. H. 2^ in.
Ralph Bankes, Esq.
85 Statuette of Anubis. Blue faience. XXth Dynasty. H. 2l/2 in.
Ralph Bankes, Esq.
86 Kohl Vase. Ornamented with lotus flower in black. Blue faience.
XVIIIth Dynasty. H. i3/in.
H P
87 Pot, with convex cover, standing on five small feet. Blue faience.
XlXth Dynasty. D. 2% in., H. 1 in.
H W
88 Pot, with incised cartouche of Rameses II. Dark purple-grey faience.
XlXth Dynasty. H. 2 in.
M
89 War Cap, covered with representations of metal disks. Discovered by
Professor Petrie at Gurob. Blue faience. XVIIIth Dynasty. H. 21/, in.
F P
GO Menat, surmounted with head of Isis. Blue faience. XlXth Dynasty.
H. 4 in.
M
91 The Four Genii of Amenti. (They were sewn into the mummy
bandages.) Ornamentation in black. Blue faience. XlXth Dynasty.
H. sU in.
M
92 A Pair of End-pieces of Necklaces. Friezes of divinities in open-work
on both sides. The inscription indicates it was a new year's gift.
Blue faience. (See No. 14, Case O.) XXth Dynasty. L. 2% in., H. ij4 in.
M
93 Winged Funereal Scarab. Ornamentation incised and painted in black.
Blue faience. XXIInd Dynasty. L. 13 in.
M
94 Menat, surmounted with head of Isis above a line of incised hieroglyphs.
Blue faience. XlXth Dynasty. H. 5^ in.
M
95 Stand for Vase. Inscribed: "Royal offering to Sebeh, lord of Semennu ;
may he give a mass of provisions for the Ka of Nuseneb." (Fragments of a
similar stand are in the Ghizeh Museum.) Green faience. Xllth Dynasty.
D. 4^. H. 2 in.
H W
96 Portion of a Head of a Snake. Blue faience. XVIIIth Dynasty.
W. i% in.
H W
97 Upright Cup, with foot. Blue faience. XlXth Dynasty. H. 4 in.
M
98 Statuette. Isis wearing horns and disk. Blue faience. XlXth Dynasty.
H. 3 in.
M
99 Statuette. Sechet. Blue faience. XlXth Dynasty. H. 4 in.
M
100 Statuette. Nut. Blue faience. XlXth Dynasty. H. 4 in.
M
101 Statuette. Nepes-Atmu. Blue faience. XlXth Dynasty. H. 3^ in.
M
102 Statuette. Isis wearing horns and disk, the horns painted black.
Blue faience. XlXth Dynasty. H. 5% in.
Case O.
All the objects contained in this Case are contributed by the Royal Museum
of Berlin, with the permission of His Imperial Majesty William II.
( The figures within brackets refer to the Nos. of the Berlin Catalogue.)
1 Harpokrates, with the head of Bes. The body is that of Horus, but
covered with hairs like that of a beast. The head is that of Bes, with the
curl of Harpocrates.
Bronze. Saitic period, or earlier. H. 28 cm. (2489.)
2 Isis nursing her son Horus. The standing boy reaches up to the shoulders
of his mother.
Bronze. Saitic period. H. 16 cm. (8288.)
3 Cat, the sacred animal of Bubastis. The scarab upon the head and the
hairs of the body inlaid with gold, the necklace and the hairs of the tail with
silver. The fore-feet are restored.
Bronze. Saitic period. H. 8.5 cm. (11330.)
102
4 Cat playing with her Kittens. The inscription of the base (inlaid with
silver) says: " May Bubastis give life to Uza-pen-tho, son of Pekhor, born
of the lady Neith-khent-rashe."
Bronze. Saitic period. H. 5.5 cm., br. 6 cm., 1. 10 cm. (9321.)
5 Shepherd carrying a Lamb.
Wood. New Empire. H. 10 cm. (4670.)
6 " USHABTI " OF THE Lady Ta-MIT. The face is probably a portrait.
Wood. New Empire. H. 22 cm. (4652.)
7 HARPOKRATES, crouching. The crown and the uraeus in the forehead (probably
of gold or silver) are lost.
Faience. New Empire. H. 5 cm. (10593.)
8 Sitting Ape. Eating an apple, and holding another fruit in his arms.
Fai'ence. Saitic period. H. 7 cm. (8337.)
9 Sitting Ape. Eating an apple. Very small. With the name of Pepi on the
under-side of the base, though of a later period.
Blue paste, possibly Libyan period. H. 1 cm. (11 161.)
10 Small Face of a Woman. Glazed stone, with inlaid glass eyes. From a
statue of different materials.
New Empire. H. 4 cm. (2040.)
11 Vase; held in the Claws of a Rampant Lion. Lion inlaid with blue
and red paste. From a temple of the lion-headed god Shu, probably from
Tell-es-seba (Leontopolis).
The style suggests a foreign influence. Serpentine stone. H. 17 cm.
(8979.)
12 Carved Wooden Tablet, in so-called Mycenian style, displaying similarities
of designs with the Vaphio cups. The hole in the centre was for a jewel.
Beasts of prey (lion and griffin) hunting antelopes in a hilly landscape with
a palm and other trees.
Found at Memphis, probably in the tomb of Sarobina, prophet of
Astarte in the reign of Amenophis IV. Dm. 6.5 cm. (1882.)
io3
13 (a) DAGGER. Blade of bronze, handle of ivory and wood, tipped with large and
small golden nails. L. 40 cm. (2053.)
(b) Leather Sheath of the same. L. 40 cm. (2054.)
(c) Whetstone. (274.)
Found together at Thebes. New Empire.
14 Necklace. Beads and flowers of blue faience. The flowers strung together
as done by the children to-day. The centre-piece is of very fine open work.
Obverse : — Horus with the palm-stick, counting the years of his reign to
a king (the figure of the king is lost) ; behind him Nechbet, the goddess
of Upper Egypt.
Reverse : — Horus the child, seated upon a lotus-flower among bushes
of papyrus reeds.
New Empire. (9029.)
The following six Nos. (15 — 20), with many other things not exhibited here, belonged
to a young lady of the time of Rameses II, and zvho %vas buried in a public tomb
at Thebes,
15 Small Box, of green glazed stone decorated with flowers and amulets.
L. 4.5 cm., Br. 3 cm., H. 3.5 cm. (2038.)
16 Necklace, in 3 hanks, with figures of gods and animals (Bes, Thoeris ; hawk,
fish, crocodile, ant, &c).
Gold, lapis lazuli, carnelian, green feldspar ; several of the beads are
of ivory, others of electron. (1991.)
17 Necklace. Small rosettes of gold, lapis lazuli, carnelian. (1992.)
18 Necklace. The beads are made of gold and carnelian. (1993.)
19 Necklace. Beads of ivory and carnelian. Found in the Box No. 15. (1997.)
20 A Pair of Gold Earrings. (1826 — 1827.)
104
The fol hiving six Nos. (21 — 26) are specimens of the great treasure of an Ethiopian
Queen, and zvere found in her pyramid at Mero'e. All the objects seem to be the
work of a local artist of Meroc. Some cameos and gems of pure Greek work, which
were found among them, show that the treasure belongs to the Greek or Roman
period.
21 Gold Bracelet, in Cloisonne enamel.
Two pieces joined by a hinge. In the middle strip the ornamentation
is composed of scales and figures of moon-god, Khons. Above are uraeus-
snakes. (1639.)
22 Gold Bracelet, similar to No. 21.
The hinge is covered by a plate, with the doors of a temple and a collar
(so-called " Aegis "). (1643.)
These bracelets could not span round the whole arm, and, also, they
do not show any fastening. They were probably sewn to a leather band,
the fastening being on this band.
23 Gold Finger Ring. The king sitting between Amon and Mut, the chief
gods of the Meroitic kingdom. (1723.)
24 Gold Finger Ring. The queen, represented as the goddess Isis-Selket,
receives a son from Amon. (171 1 .)
25 Gold Finger Ring. The queen presents her son to the king.
The king and queen wear the same dress as in the sculptures of Meroe
and Napata.
26 Gold Finger Ring. Vulture, the sacred animal of the goddess Mut,
rending an enemy — a representation which occurs often on the Meroitic
monuments. (1720.)
27 Fragment of a Glass Vessel of two different layers. For the
representation the upper blue layer is removed and the drawing is cut into
the lower white layer with extreme fineness. Represented is a standing
goddess in the wing-dress, and the head of the goddess Hathor. The rest
is lost.
Greek period. H. 6 cm. (9717.)
05
28 Head of the god Bes, in a kind of glass-mosaic.
Greek period. L. 2.7 cm., br. 3 cm. (9744.)
29 Scarab of Thutmosis III. Set in a gold ring, which is composed of lotus
stalks with flowers and buds.
New Empire. (178 1.)
30 So-called " Menat." Dedicated to Hathor by Ankh-nehtif, priest of Amon,
and the third priest of Anubis at Hauaris (in the Delta).
Above : Horus gives life to a king holding the sign " Life " to his nose.
Below: Hathor upon a flower between the goddesses of Upper and
Lower Egypt.
These " Menats," made in heavier materials, counterbalanced the large
bead collars.
Faience. Saitic period. L. 12.5. (7709.)
31 So-called " Menat," in very neat open work and very small. Above,
Bubastis; below, an eye with an arm holding a vessel.
Faience. Saitic period. L. 3.4 cm. (11329).
32 Cameo, of the reign of Amenophis III. Rectangular plate.
Above: The king in peace, kneeling between Amon and Mut, the
gods of Thebes and Ptah and Sekhmet, the gods of Memphis.
Below: The king in war, fighting in his war-chariot and on foot.
Grey stone. L. 2 cm. Br. 1.5 cm. (8081.)
33 Piece of a so-called Boomerang, with the figure of a toad finely carved,
and the sign " mighty." On the reverse a crocodile. The use of these
objects, which, if complete, have the form of the tusk of an elephant, is not
clear. Probably they were amulets.
Ivory. New Empire. L. 10 cm. (961 1.)
34 Salve Box, with lid and large handle. On the handle, a singing girl
sitting upon a mat and playing the guitar with the plectron. Behind her a
carpet with large embroidery, over which the tops of papyrus reeds and
lotus flowers, showing that she is in a garden. The recesses are filled with
blue paste.
Found at Memphis. Wood. New Empire. L. 26.5 cm. (1877.)
35 Ivory Spoon. The handle finishes in an ibex-head ; upon the column capital
on the other end stands a naked boy carrying a shell on his head. L. 21 cm.
(1886.)
io6
36 Statue of a Queen, in the usual dress, wearing the head-dress of Isis-
Hathor ; she has a girdle with long ends, a fan and a flower, large collar,
earrings and bracelets. No inscription.
Green stone. Libyan period. H. 55 cm. (10114.)
37 Statue of an unknown Man, wearing the dress of an officer of the
XVIIIth Dynasty, with large wig, collar and bracelets of gilt plaster. The
sceptre in the left hand is lost.
Found at Thebes. Wood. XVIIIth Dynasty. H. 29 cm. (4667.)
38 Figure of Neith, the goddess of Sais. Dedicated at the Temple of Sals by
Peteneith, son of Karer. The name of one of the ancestors is composed
with the name of Psametic I.
The original stand, not exhibited here, has a Karian inscription.
Found at Sa'fs. Bronze. Sai'tic period. H. 38 cm.
Case P.
GLASS.
Glass of this description was formerly called Greek and Roman, then
Phoenician and Egyptian. The evidence for attributing it to Egypt
consists in the colours and ornamentation, in the fact of brilliant
examples belonging to the time of Amenophis IV. (Nos. 28 and 29),
and that remains of Glass Works have been found in the Delta and
Upper Egypt. There are allusions in the Classical writers and early
Christian Fathers to the Egyptian fabrication of glass. Egyptian glass
formed part of the native tribute to Rome. There have not been
discovered remains of Glass Works at Rome. Colourless glass was,
however, fabricated at Rome. The Phoenicians, who distributed
Egyptian manufactures throughout the lands bordering the Medi-
terranean, imitated the Egyptian glass. The inferior examples in this
Case are probably from their fabrics. The high estimation in which
these small vessels were held in ancient times is indicated by their
being found, along with other precious objects, in Greek and Etruscan
tombs.— h.w.
1 Alabastron. Palmettes, in yellow and white, on green ground. H. in.
South Kensington Museum.
io7
2 Flat Bottle, with two handles. Turquoise ground, covered with chevrons in
yellow and dark blue. H. 4^ in.
South Kensington Museum.
3 COLONETTE, with lotus capital (Kohl vase). Blue ground, yellow and white
chevrons at the base, the capital outlined in yellow. H. 3% in.
South Kensington Museum.
4 CENOCHE, with trilobed lip. Dark blue. The body covered with chevrons in
yellow and white, the rim yellow and spiral lines of yellow round neck.
H. 4# in.
South Kensington Museum.
5 Bowl, on a foot. Ribbed outside. The ornamentation a suggestion of
interlaced bands in yellow, red, blue, green and white. H. 4^ in.
South Kensington Museum.
6 AMPHORA, with foot. Dark blue ground, yellow rim, the body and neck covered
with yellow and turquoise chevrons. H. 5 in.
South Kensington Museum.
7 Crater-shaped Vase, with three handles. Blue ground, turquoise handles,
yellow rim, the body and neck ornamented with chevrons in white and
yellow. H. 2^ in.
South Kensington Museum.
8 ALABASTRON. Blue-black ground, yellow rim, the body covered with chevrons in
white, yellow and turquoise. H. 6 in.
H W
9 A Head, wearing the polos, from the statuette of a goddess. The face is in
white paste, the hair in black, the polos yellow, red paste below suggests it
was the upper portion of drapery. Found at Alexandria. Ptolemaic
period. H. i]4 in.
H W
10 Amphora. White ground. Handles in blue, white and yellow, a rim of blue
and white, a band of chevrons in yellow, turquoise and dark blue on the
body and neck. (Said to be from Drah abu '1 Nuggah). H. 4^ in.
H P
11 BEAD. Black ground, covered with flowers in red and green in mosaic. H. 1 ^ in.
H W
12 Six squares of Mosaic. Ornamentation: diapers of geometrical patterns in
red, blue, green, black and yellow. 2 in. square.
South Kensington Museum.
io8
13 Flat Bottle, with ribbed neck. Wavy white lines on a blue ground. H. 2^5 in.
H W
14 Bottle, opaque white, three heads in relief. Moulded. H. 3 in.
H W
15 Bottle in form of a dried date, yellow. Moulded. H. 2M in.
H W
16 Bottle, cylindrical neck, expanded foot. Ornamentation : chevrons, in red and
white on black ground. This vessel is probably of Coptic times. H. 1 ^ in.
H W
17 Conical Vase, with tall neck. Ornamentation : large chevrons in white
on deep purple ground. H. 4% in.
H W
18 ALABASTRON. Black ground, chevrons in white and yellow, yellow rim. H. 4^ in.
H W
19 CEnoche. Dark blue ground, chevrons and petals in white and yellow (covered
with irridescence). H. 4V in.
H W
20 ALABASTRON. White ground (covered with silver irridescence), chevrons and
lines in black, rim black. H. xyi in.
H W
21 Amphora. Dark blue ground, chevrons in white on body, white spiral lines
below. H. }M in.
H W
22 Amphora. Pale green ground, white chevrons, handle white. H. 4^ in.
H W
23 Flat Circular Bottle, short neck and two handles. Dark ground. A band
of chevrons in yellow, grey and white on body, another on neck ; handles in
yellow. Found at Abydos. H. 27A in.
H W
24 ALABASTRON. Pale blue ground, chevrons in yellow and black, yellow rim ;
handles in black. H. 4 in.
K
25 Bulbous-shaped Vase, on foot (missing). Angular handles. Deep blue
ground, chevrons in white, red, turquoise and yellow. H. 4}& in.
M
26 ALABASTRON. Pale blue ground, chevrons in yellow and black; black handles.
H.4in.
109
27 AMPHORA. Handles (partly missing) amber coloured. Black ground, chevrons
in white and red on body, bands of white and red on neck. H. 5 in.
H W
28 Portions of a Crater. Found along with the following No. 29 at Tell-el-
Amarna, the site of the former capital of Kuenaten (Amenhotep IV.). It
may be concluded they belong to his period from the colour and technique
being the same as that of objects bearing his cartouche. Also, Professor
Petrie found in the course of his excavations at Tell-el-Amarna remains of a
glass-maker's workshop, with fragments of vases, &c. H. 3^ in. H. 3^ in.
H W
29 Portion of a Crater. H. 3 in. H. ]/& in.
H W
30 Portion of a Three-handled Vase, amphora-shaped. Deep blue ground,
the body covered with festoons in yellow and white, brown handles.
H. 4 in.
H W
31 Amphora. Blue ground and handles, yellow rim, chevrons in yellow and
turquoise. H. 3 in.
H W
32 Amphora. Blue ground, covered with irridescence, spiral lines on lower part
and neck, festoons on the body. The colour cannot clearly be distinguished
on account of the irridescence. H. 6% in.
H W
33 Aryballos. Deep blue ground, yellow rim and spiral bands, chevrons of pale
blue and yellow. H. 23/6 in.
H W
34 Amphora. Deep blue ground, yellow spiral lines on neck, festoons on body,
amber coloured handles. H. 4^3 in.
H W
35 Flat two-handled Bottles. Turquoise ground ; ornamentation : white and
blue wavy lines. H. 3^ in.
M
36 Amphora. Dark ground, ornamented with festoons in white and yellow,
spiral lines on the neck, amber-coloured handles. H. in.
H W
37 Amphora. Dark blue ground, a band of yellow and white chevrons between
lines, yellow rim. H. 3 in.
H W
38 Flat Bottle, with two handles (one missing). Deep blue colour, white
cylindrical lines on the rim. H. 4^ in.
F P
39 CENOCHE. Blue-black ground, a band of chevrons in turquoise and yellow,
between bands of yellow, the same colour rim. H. 33^ in.
H W
40 Bowl. Deep claret colour, incised line below rim on the outside. H. 2^5 in
D. 3^ in.
H W
H W
H W
H W
H W
41 Alabastron. Blue ground, white and yellow festoons. H. 5 in.
42 Amphora. Blue ground, yellow chevrons and lines. H. 33^ in.
43 Bangle, or bracelet. Dark blue-black colour. D. 2^3 in.
44 Amphora. Blue, yellow lines on rim and body. H. 2}4 in.
45 ARYBALLOS. Dark ground, a band of twisted glass in black and yellow
surrounds the vase, yellow rim. H. \yi in.
H W
46 Amphora. Blue ground, spiral lines and chevrons in white. H. 4*^ in.
H W
47 Bowl, ornamented with rosettes in relief. Purple colour. Moulded. H. 1^5 in.
H W
48 ARYBALLOS. Blue ground, a band of chevrons in yellow, the rim in yellow.
H. 2% in.
H W
49 Bottle. Green colour. H. \}i in.
H W
50 Bottle. Amber colour. H. 2l/2 in.
H W
51 Amphora. Blue ground, festoons in white and yellow, spiral lines on neck.
H. 31/4 in.
H W
52 Pot. Blue colour. H. \ lA in.
H W
53 Amphora. Green colour, remains of handles in opaque white. H. 3^5 in.
H W
54 Bowl. Green colour, band of rosettes in relief. Moulded. D. 3 in.
H W
1 1 1
55 Hydria. Dark ground, festoons and spiral lines in yellow and white; handles
and base, amber-coloured. Similar colour on vase found at Kamiros,
Rhodes, in British Museum. H. 3^3 in.
H W
56 POT. Blue colour. H. 7A in.
H W
57 ALABASTRON. Blue ground, spiral lines on neck and base, a band of festoons
in white. H. 4^ in.
H W
58 Cylinder, amber glass, brilliant irridescence. L. 1 % in.
H W
59 Bowl, with flat rim and foot. Dark green colour. Polished and finished with
great accuracy. D. 2>% m*
Case Q.
The Pottery in this Case is mainly of the 1st and 2nd Centuries. The paste is
softer than that in Case N, the vitreous glaze is thickly applied, sometimes
over a slip.
1 Two-handled Vase. Painted outside a deep purple, inside blue. Ornamented
on the top of body with a wreath of green leaves, in relief. Faience.
Roman period. H. $3/ in.
H W
2 Vase, with expanded neck. Ornamentation: on the neck, flying birds ; beneath,
on the body, a band of egg and dart ornament; beneath this, a band of fish
and flowers; beneath this, animals and leaves above; the foot, a band of
leaves; the whole in relief, and of a deep blue colour. The foot is restored.
Faience. Roman period. H. 7^ in.
M
3 DISH, with narrow rim, and ring on foot. The inside is painted in purple outline
on a white ground, representing an animal, with conventional foliage, within
a circular medallion, the outside painted in turquoise blue. (Compare with
Xlllth century Persian plates in British Museum and Sevres Museum.)
Faience. Roman period. D. 8}£ in.
H W
I I 2
4 VASE, with globular body, expanded neck and foot. The body is ornamented at
the base with lotus flowers in low relief springing from the foot, the ground
between the petals filled in with cross-hatching. Round the upper part of the
body is a band of wild beasts, in relief, and round the neck a band of grapes
and vine leaves, in relief. The general colour is a deep blue, the reliefs in
two upper bands are green. (Compare band of grapes and leaves with the
ornamentation of early Coptic textiles at South Kensington Museum.)
Faience. Roman period. H. 5%^ in.
H W
5 Plate. Ornamented with a circular medallion. Surrounded by an ornamental
border, and divided into two semi-circular compartments, each enclosing two
ducks, vis a vis, the whole in low relief, painted a deep blue. (On a blue
vase of the Ramesside period, discovered by Professor Petrie, the same
motives of ducks, similarly placed, are painted in black.) Faience. Roman
period. D. 71^ in.
H W
6 Two-handled Vase, on hollow foot, with straight neck and overhanging lip.
Painted outside a deep purple, and inside blue. Ornamented with a wreath
of green leaves at top of body, palmettes of green leaves below handles, and
bright lines of leaves on body; the whole in relief. Faience. Roman period.
H. 7y2 in.
M
7 Vase, with cover, expanded neck and hollow base. Ornamented on the neck
with a band of conventional vine leaves, a band of wild animals on the body,
conventional lotus flower, with the ground between petals covered with
hatching; the whole in low relief. Painted in blue. Faience. Roman period.
H. 7% in.
M
8 Cylindrical Vase, originally possessed a single handle. A band of birds and
conventional ornament at the top ; beneath, a band containing a centaur,
wild animal, and a goose among conventional trees; the whole in low relief.
Pale green colour. (Fragments of a similar ware, discovered in the Aventine,
Rome, are in the Berlin Museum. Other examples of the ware, discovered
at Pompeii, are in the Naples Museum. See Annali . . . .) Faience.
Roman period. H. 5 in.
H W
9 Tin: Top of a Colonette. Horus seated on an open lotus flower. Painted
in pale yellow, with greenish tinge. Faience. Roman period. H. 1^ in.
H W
H3
10 Cylindrical Vase, formerly possessing a handle. Ornamentation: under the
rim, a row of pearls ; beneath, a narrow band of birds and conventional
leaves and flowers ; the body of the vase, a band of bunches of grapes and
leaves ; the whole in low relief. Painted in blue and purple, on a white
ground. Faience. Roman period. H. $lA in.
M
11 Cylindrical Vase, formerly possessing a handle. Ornamentation: below the
rim, a band of pearls ; then a narrow band of waves, beneath a band of
bunches of grapes and vine leaves ; the whole in low relief. Painted in deep
blue. Faience. Roman period. H. 6 in.
H W
12 Vase. Similar to No. 6, except for slight differences in the ornamentation of
the body. Faience. Roman period. H. 73/ in.
M
13 Dish, with small rim and large ring at foot. Painted in turquoise blue.
Faience. Roman period. D. 6V2 in.
H W
14 Vase. Similar to Nos. 6 and 12, neck and foot missing. Faience. Roman
period. H. 6 in.
H W
15 Two-handled Vase, globular body, straight neck and flat rim. The upper
portion of rim ornamented with a wreath of leaves, a band of scroll
ornament on the body, the whole incised ; marks in relief at the base of
handles. Painted in turquoise blue. Faience. Roman period. H. 6% in.
H W
16 Cylindrical Vase. Similar to No. 8, except that the large band contains
two lions and a gazelle. The interior painted in pale green ; the exterior
was possibly originally the same colour. Faience. Roman period. H. 4^ in.
H W
17 Die. Ornamented on each facet with (1) a vase ; (2) a head of Horus ; (3) a
hand holding palm branch ; (4) Venus Anadyomene ; (5) a collar ;
(6) a head of Bes ; the whole incised. Painted in blue. Faience. Roman
period. H. ^ in.
H W
18 Pear-shaped Vase (the handle and lip missing) on a hollow ring. Ornamen-
tation: a band of egg and dart ornament ; below, a wide band of birds and
animals between conventional trees, beneath a band of waves ; and at the
bottom, lotus leaves and palmettes; the whole in low relief. Painted in
blue. Faience. Roman period. H. 7% in.
ii4
19 Dodecahedron. Each facet contains a Greek letter incised upon it. Painted
in blue. Faience. Roman period. H. 2 v£ in.
M
20 Bowl, with expanded lip. Painted in blue. Faience. Roman period. D. 3^ in.
H. i]4 in.
H W
21 Pot, with handle. Painted in deep blue. Faience. Roman period. H. i^in
H W
22 BOWL, with flat base. Painted turquoise blue. Faience. Roman period.
D. 3j/8 in.
H W
23 Jar, with globular body and expanding neck. Painted blue. Fa'ience. Roman
period. H. 2>% m-
H W
24 Bowl, with small foot. Painted in turquoise blue. Faience. Roman period.
D. 4 in.
H W
25 Measure. A vase painted on the side. Painted blue. Fa'ience. XX Vlth Dynasty.
D. i]/2 in. H. 2 in.
H W
26 Head, the hair surmounted by a diadem. Painted, the face in green the rest
in blue. Faience. Roman period. H. 2^ in.
H W
27 Head of a Goddess. Painted in pale green and purple. Fa'ience. Roman
period. H. 2 in.
H W
28 Two Figures at a Banqueting Scene. Painted green and yellow. Faience.
Late Roman period. L. 2 in.
H W
29 Head of a Griffin. Painted in blue and yellow. Faience. Roman period.
H. ij4 in.
H W
30 Fragment of a Vase. A head and vine leaves. Painted in blue and yellow.
Faience. Roman period. H. 2Y/2 in.
H W
31 Fragment of a Vase. Two birds' heads, vis a vis. Painted in purple on
white. Faience. Roman period. H. \ V± in.
H W
H5
32 Lion. Painted in blue. Faience. Roman period. H. I % in.
H W
33 Fragment of Vase. Vine leaves in relief. Painted in blue, leaves in green.
Faience. Roman period. L. I Va in.
V H W
34 Head of a Woman. Painted green. Faience. Roman period. H. i % in.
H W
35 Head. Painted blue. Faience. Roman period. H. I % in.
H W
36 Bowl, on flat base. Dark blue crackle. Fafence. Roman period. D. 4)^ in.
H W
37 Plaque of a Sacred Eye, in relief. Faience. Roman period. L. 9 in., H. 6 in.
H W
38 Pot, with lip. Painted blue. Faience. Roman period. H. 2l/2 in.
M
39 Spouted Pot, with handle. Painted blue. Faience. Roman period. H. 2 in.
M
40 Globular Bowl, with upright neck. Painted blue. Faience. Late Roman
period. H. 2^ in.
M
41 Fragment of the Face of the god Bes. Painted blue. Faience. Roman
period. L. 2^ in.
H W
42 Measure. Painted in blue. Faience. Ptolemaic period. H. 1^ in.,
D. 2}4 in.
H W
43 A Stick of blue glaze, probably for pottery (H Wj, and Three pieces
OF blue frit (M). Period uncertain.
44 Oblong Bowl, with two handles. Painted blue. Faience. Roman period.
L. iy2 in.
H W
45 Bowl, flat at base. Painted in deep blue. Faience. Roman period. D. 4 in.
F G
46 BOWL, with flat base, two handles and spout. Painted blue. Faience. Roman
period. D. 3^ in.
M
u6
47 Fragment of a Vase. Animals in low relief. Painted blue. Faience.
Roman period. H. 4 in.
M
48 Portion of a Vase, similar to Nos. 6 and 12.
H W
49 Vase, the cover and handles are missing. Ornamented with bands of leaf
forms, the interstices filled with cross-hatchings incised, a wreath of leaves
in relief on the shoulder. Painted turquoise blue. Faience. Roman
period. D. 7 in., H. 4^ in.
H W
50 Deep Bowl. Painted blue. Fa'ience. Ptolemaic or Roman period. D. 5 in.
H W
51 Six portions of a Statuette of the Venus Anadyomene. They
comprise the torso, pedestal, portions of the vase supporting figure, and a
leg. The statue with pedestal was about 13 in. high. Painted blue.
Faience. Roman period.
H W
52 LAMP, with two burners. Ornamented by a circular medallion of a cupid.
Painted blue. Fa'ience. Roman period. L. 5^ in.
H W
53 Portion OF a pear-shaped Vase, the neck missing, a mask in relief attached
to it. Fluted. Painted blue. Faience. Roman period. H. 3^ in.
H W
54 Portion of a Votive Plaque, on the lower portion were probably two feet.
The upper part, including the name of the personage, is missing. Inscribed
acf) ock aveSrj/cev erf ayaSio. Painted blue ; characters, in relief, yellow
Faience. Roman period. L. m-> H. 3 m-
ii7
Case R.
The Pottery in this Case is entirely in Terra-cotta, and ranges in date from
the Ancient Empire down to Roman times. Examples of the four tall
Vases, Nos. 23, 30, 32 and 41, are unknown in Museums.
1 Two-handled Vase, on small foot. Ornamented in relief : on one side, a
satyr and bacchante, on the other, a bacchante and mask ; between them,
two groups of Victories holding tripods ; lotus flower at the bottom ; the
neck is cannellated. Terra-cotta. Roman period. H. 6 in.
H W
2 Bulbous-shaped Vase, on small foot. Ornamented in relief in two bands, the
lower representing a banqueting scene, the upper, amorini holding garlands ;
a row of pearls below the lip. Terra-cotta. Roman period. H. in.
H W
{This vase and the preceding have been moulded from metal vases. They show traces
of having been painted?)
3 Bulbous-shaped Vase. Ornamented in the centre with a scene from a comedy.
(Moulded from a metal vase.) Terra-cotta. Roman period. H. in.
H W
4 Stand FOR A Vase. Terra-cotta. Uncertain period. H. 6 in.
H W
Standing on this is a small Terra-cotta Vase, ornamented with parallel
lines. XXth Dynasty. H. 3 in.
H W
5 Stand for a Vase. Ornamented with black lines. Terra-cotta. Uncertain
period. H. 4*4 in.
H W
6 Vase, rounded at base and with large lip. The inscription states it belonged to the
royal scribe, Amen Hotep. Red polished terra-cotta. XVIIIth Dynasty.
H. g% in.
H W
7 Amphora-shaped Vase. Ornamented on the neck with bands of ornament in
black and red, a band on the belly. Terra-cotta. Ramesside period.
H. 16% in.
H W
8 Pear-shaped Vase, with lip. Ornamented with crocodiles, scorpions and snakes
in maroon colour. (From the east side of the Nile, opposite Gebeleyn.)
Terra-cotta. Ancient Empire. H. 1 1 \i in.
H W
u8
9 Pear-shaped Vase, with two handles. Ornamented with concentric circles
and wavy lines. Terra-cotta. Ancient Empire, H. 5 in.
F G
10 Bowl, with lip and two handles. Ornamented with concentric circles and wavy-
lines. Terra-cotta. Ancient Empire. H. $% in.
H W
11 Bottle, with two handles, of flattened shape. Red terra-cotta, polished.
Ancient Empire. H. 3^ in.
H W
12 CEnoche. Red terra-cotta, polished. H. 3 in.
H W
13 Stand for Vase. Terra-cotta. Uncertain period. H. 2}4 in.
H W
14 BOWL. Found by Professor Petrie at Kahoun. Terra-cotta. Xllth Dynasty.
H. 2^ in.
H W
15 BOWL, with two handles. Ornamented with concentric circles and wavy lines.
Terra-cotta. Ancient Empire. H. 2 3^ in.
H W
16 Vase in the shape of a shell, with a cupid riding on a dolphin emerging from the
opening. Two handles. Terra-cotta, polished. Roman period. H. 3^ in.
H W
17 Lamp. Ornamented with bas-relief of Serapis, inscribed on the bottom
AGATHA in Greek characters. Terra-cotta, red colour and polished, or
possibly covered with thin lead glaze. Roman period. L. 3 in.
H W
18 Lamp, in the form of two sandalled feet, surmounted on uraeus. Terra-cotta,
similar to preceding. Roman period. L. 2% in.
H W
19 Upright Vase, with single handle. Ornamented with a band of winged
Victories below garlands, bands of pearls and palmettes at the bottom
(moulded from a metal vase). Terra-cotta. Roman period. H. 4^ in.
H W
20 Tall Vase, with long neck, on foot. Ornamented with two eagles in relief
(moulded from a metal vase). Terra-cotta. Roman period. H. 4^ in.
H W
21 Vase, with single handle. Ornamented with two naked boys in relief (moulded
from a metal vase). Terra-cotta. Roman period. H. in.
H W
ii9
22 Tessera. Inscribed "POMPEI SERENI Q." Red glazed terra-cotta.
Roman period. D. \?>A in.
H W
23 Tall upright Vase, with cover. Both ornamented in bands of ornament,
the motives being lotus leaves, outlined in black, and painted in blue.
Inscribed " Wines of the North of the Osirian Em Net'chem." Terra-cotta.
XlXth Dynasty (?). H. 36 in.
H W
24 Vase, with small neck and three handles, with rings attached. Reticulated
ornament, pearls and drops in relief. Terra-cotta. Roman period. H. 4 in.
H W
25 PEAR-SHAPED Vase, with two handles. Ornamented with pearls and drops, in
relief. Terra-cotta. Roman period. H. 6 in.
H W
26 Two-handled Vase, with lip and small foot. Ornamented with rows and
festoons of pearls and larger drops. Terra-cotta. Roman period. H. 5^ in.
H W
27 Three-handled Bowl, rings in the handles. Ornamented with a dancing
satyr, and garlands in dark purple. Found at Gebeleyn. Terra-cotta.
Roman period. D. 4^ in.
H W
28 Portion of three-handled Bowl, similar to preceding No. Found at
the same place.
H W
29 Portion of three-handled Bowl, similar to above, and from same place.
H W
30 TALL UPRIGHT Vase, with cover. Similar to No. 23. The inscription, also, is
the same.
H W
31 Flat Vase, with long neck and two handles. Found by Professor Petrie, at
Gurob. Terra-cotta. Middle Empire. H. 6 in.
F P
32 TALL UPRIGHT Vase, with cover. Similar to Nos. 23 and 30. Similarly
inscribed, except that South is substituted for North. H. 28^ in.
H W
33 Vase, in shape of a duck. Ornamented in red and black ; terra-cotta.
120
34 Vase, in form of an animal. Ornamented in black ; terra-cotta. L. 5^ in.
H W
35 BASIN. Terra-cotta. XVIIIth Dynasty. H. 2 in.
H W
36 Tall Vase. Terra-cotta. XVIIIth Dynasty. H. 8 in.
H W
37 Cylindrical ribbed Vase. Terra-cotta. XVIIIth Dynasty. H. 12 in.
H W
38 Upright Vase. Terra-cotta. XVIIIth Dynasty. H. 6% in.
H W
39 Bowl. Terra-cotta. XVIIIth Dynasty. H. 3 in., D. 5 in.
H W
40 Basin. Terra-cotta. XVIIIth Dynasty. H. 2% in., D. $V2 in.
H W
(The above six pieces are from a foundation deposit of a temple of Thothmes III.,
excavated at Koptos by Prof. Petrie, 1894.)
41 Tall upright Vase with cover. Similar to Nos. 23, 30 and 32. The
inscription the same as on No. 32. H. 31 in.
H W
42 Bowl. Ornamented with chevrons in white slip. Red polished terra-cotta.
Ancient Empire. D. 3^ in.
H W
43 CYLINDRICAL Vase, with lip. Ornamented with upright straps of line, triangles
and palm branch. Red polished terra-cotta. Ancient Empire. H. 7}4 in.
H W
44 Basin. Ornamented with chevrons of hatched lines in white slip. Red polished
terra-cotta. Ancient Empire. D. $% in.
H W
45, 46, 47, 48, 49. Five red polished terra-cotta Bowls and Vases, the
tops are all blackened, ranging in height from 3^ in. to 10 in. This ware
has been assigned to the Xlth Dynasty. Recent excavations by Professor
Petrie at Nagadeh have yielded large numbers of these vases, and in a
position which inclines him to class it with Vlth Dynasty pottery.
H W
50 Tall UPRIGHT Vase, with single handle. Red polished terra-cotta. Middle
Empire. H. 121/ in.
H W
51 Two Fragments of early Coptic Vases, in red terra-cotta, ornamented
with figures of a hare and birds.
H W
I 2 I
Case S.
JEWELLERY.
Though the larger part of the jewellery contained in this Case is of a late
period, examples may be seen of earlier work. The beautiful work
of the Xllth Dynasty is represented in Tray F (Nos. 96 and 109), and
drawings of more important specimens of the same find may be seen in
Frames 22 and 23; the XVIIIth, by Nos. 61-3 in Tray D, belonging to
Count Tyszkiewicz; the XXYIth, by the three figures No. 114 in Tray F;
the three masks, No. 31, Case B, and the necklace of Hathor-heads, No. 44
in Case C. With the exception of small pieces, the remainder is of Greek
or Roman times, of which the Medusa head and chain belonging to
Sir Wollaston Franks, No. 36, Case C, is perhaps the most beautiful.
Tray A.
1 Gold Necklace, composed of 23 flat lotus flowers, with small beads between
each. Bubastis.
H P
2 Gold Pendant, in the form of a flat crescent-shaped ring, the two ends terminate
in knobs. The upper part is furnished with a broad loop, ornamented with
a uraeus seated upon a disk in front. H. 1 in.
H P
3 Silver Pendant, a hollow cylinder, probably intended to hold a talisman,
furnished with a cap, to which a ring is attached for suspension. It is
ornamented with six vertical rows of small knobs, and every two are
attached together by a small piece of wire. Thebes. L. 1 ^ in.
H P
4 Cylindrical Pendant, with a cap of gold on the top and on the base, with
three cylinders of amethyst divided by two broad bands of gold. A gold
loop on the top. Luxor. H. 2% in.
H P
5 Gold Earrings, a pair, of semi-lunar ornament, with a long extension of wire
to form the loop, openings on the top. L. \ lA in.
H P
6 Gold Bracelet, solid band of thick wire, with an amethyst set in an oval locket,
to which are attached loops for attachment. Lower Egypt. D. 2% in.
by 2 in.
H P
122
7 GOLD Necklet, of finely plaited wire, four-sided, with a circular boss, upon
which is the head of Medusa in repousse work, with a hook fastening on the
side of the boss. As a counterpoise, is a small bust of Aphrodite.
Alexandria. L. 13^ in.
H P
8 GOLD Earrings, a pair, consisting of the ear-loop, to which is attached a cross-
bar, from which are suspended two wires with a pearl at each end. Roman
period.
H P
9 Gold Earrings, two pairs, small open rings of wire, possibly from a bronze cat.
H P
10 Necklace, of pendants of gold and carnelian beads between them.
H P
11 PENDANT, consisting of the head of a female, perhaps Medusa, carved in
carnelian, set in a broad ornamental setting of solid gold, with a wide loop
on the top. Koft. H. 1^5 in.
H P
Rectangular Pendant, engraved with figures on four sides. Sardstone.
H P
Gold Earrings, a pair, in form of a convex circle, with a hole through the
centre, beneath the fastener is a hollow to allow the lobe of the ear to
enter it. D. ix5^ in.
H P
14 Gold Bracelet, of thick twisted wire, with an oriental onyx set in a massive
gold case, which is secured to the bracelet by hinges, on the other side is the
fastener. D. 25^ in.
H P
15 Gold Bracelet, composed of thick twisted wire, the ends having wider twists
which enable them to slide over the rest of the circle for taking on and off.
Bubastis. D. 23/ in.
H P
16 Gold Earring, a griffin's head, decorated with filigree work. Alexandria.
Ptolemaic period. L. \ Vz in.
H P
17 Gold Earring, ornamented with a ram's head and a rosette on the forehead,
then three large gold beads and a twist which ends with a hook, which
attaches it to a loop in the mouth of the ram. Ptolemaic period.
H P
18 Gold Finger Ring, with sardstone setting.
I23
19 Gold Finger Ring, with a square, flat bezel of green jasper in solid setting ;
upon one side Mut is engraved, and upon the other the emblem for " millions
of years."
H P
20 Necklace, of small gold beads, gold pendants, and carnelian utchats, &c.
H P
21 Two Gold Figures OF HARPOCRATES, furnished with two loops behind for
fixing on the dress. Alexandria. H. 1 1£ in.
HP
22 Gold Earring, or pendant, in the form of a fish ; plain reverse, with a piece
of Amazon stone beneath the tail, a pearl on the side, and another pearl in
front of its nose. Bubastis. L. I Vq in.
H P
23 Gold Finger Ring, finished off at each end with an engraved spiral twist.
Kourneh.
H P
24 Gold Earrings, a pair, composed of four rings welded together, the two
central coils project beyond the others. Thebes.
H P
25 Gold Chain, composed of solid and very fine links. Alexandria. L. 8}4 in.
H P
26 Necklace, of red carnelian beads, with gold pendants attached in the form of
lotus flowers, hands, Bes, Tauer, a hawk, a fly, a fish and a crocodile.
Thebes.
H P
Tray B.
28 Eighteen Objects, including three engraved Scarabs, three gold Plates,
portion of an Earring.
/. Travers Smith, Esq.
29 A Bracelet, five Rings, three Chains.
K
30 A Necklet with coptic cross and small pearl.
F P
31 Three Masks.
W. L. Nash, Esq.
124
32 Twenty-two Objects, including a Bracelet in stamped gold, a pair of
Earrings, a Soul in gold, a figure of Bast, eight Scarabs mounted in gold,
three Scarabs in gold rings, a Silver Ring.
Tray C.
33 A Necklace, composed of gold stamped drops, carnelian drops in form of lotus,
and small beads.
M
34 A fair of Gold Bracelets, twisted at the end.
W. Rome, Esq., F.S.A.
35 A Bracelet in the form of two snakes.
W. Rome, Esq., F.S.A.
36 Gold Necklace, formed of a chain of thin wire, with circular medallion
embossed with a head of Medusa, found at Tell Mogta in the Delta, Roman
period.
Sir A. Wollaston Franks, K.C.B.
37 Gold Ring, with cartouche — Tahutmes IV.
Miss BrockleJiurst.
38 Gold Ring, formed of a broad hoop, with cloisonne work, inlaid with pastes
and representing anchs and tats.
Sir A. Wollaston Franks, K.C.B.
39 Pair of Gold Earrings, one end terminating with a ram's head, with beads
of emerald, onyx and gold.
Lady Lampson.
40 Gold Ring, bearing the cartouche of Bast, Lady of Bast.
Lady Lampson.
41 Pair of Earrings, ornamented, in the form of palm capitals, pendants
hanging from gold chain.
Lady Lampson.
42 Sacred Eye, in gold.
Lady Lampson.
43 Gold Heart, enclosed in network of gold, probably the drop of an earring.
Lady Lampson.
44 Gold Necklace, composed of nine Hathor heads, alternating with ten
double lotus flowers.
Lady Lampson.
Tray D.
45 Gold Bracelet, in form of a snake.
46 Gold Ring, set with an amethyst.
47 Gold Bracelet, in form of a snake.
48 GOLD Ring, inscribed with Greek characters.
49 Gold Bracelet, of twisted wire, with two snake heads.
50 Two Ornaments, in stamped gold.
51 A Gold Ring, bearing representations of Bast on the bezel.
52 A Gold Earring, with pearls.
53 A Necklet, composed of gold beads.
54 A Gold Earring, with pearls.
55 A Gold Scarab.
56 A Gold Bracelet, of twisted wire.
57 A Gold Scarab.
58 Small Gold Earring, with a winged Eros.
59 A Gold Bracelet, terminating in rams' heads.
60 A Gold Bracelet, with rectangular beads of emerald.
The above objects belong to H. Martyn Keiuiard, Esq.
61 A Gold Soul, the ornamentation in cloisonne work inlaid with lapis lazuli,
red and white carnelian and emerald.
Count Tysskiewicz.
62 Another Gold Soul, the same design and ornamentation.
Count Tyszkiezvicz.
63 Gold Amulet, representing the God Noum (Knouphis) seated on a lotus
flower. XVIIIth Dynasty.
Count Tyszkiezvicz.
64 A pair OF Gold Earrings connected with a gold chain. Ornamented with
rubies, garnets and emeralds, the drop in the form of a vase, on either side
two pendants with beads in precious stones hanging from gold chains.
(For description and illustrations of these jewels see La Collection
Tyszkiezvicz, avec texte expliatif par W. Frohner.)
Count Tyszkiewicz.
65 A KOHL Pot, in pale amethyst, surrounded by gold band, ornamented with
lapis lazuli, on the lid a ruby, the Kohl sticks beside are of Hematite,
mounted with gold.
Lady Lampson.
66 A Necklet of thin gold wire chain, with Medusa's head.
Tray E.
67 A Gold Necklet, with beads of garnet and root emerald.
68 A PAIR OF GOLD Bracelets, flattened, and the ends twisted.
69 A Gold Ring, open-work ornamentation.
70 A Necklace of carnelian, amethyst beads, gold pendants of hawks and uraei.
71 Pair of Gold Earrings, the ends terminating in ram's head, beads of
amethyst and emerald.
72 A Gold Bracelet, the end terminating with the head and tail of a snake.
73 A Gold Scarab.
74 A pair of bulbous-shaped Gold Earrings.
75 An Earring, with two pearl drops.
127
76 A Ring of Gold Wire, terminating in snake heads.
77 A Necklet, composed of a chain of gold wire, with a circular medallion
bearing the effigy of a Roman Emperor.
78 A GOLD RING, set with carnelian, engraved in intaglio, with a seated Jupiter.
79 A pair of Earrings, the pendants in pearls and amethysts hanging from
golden chains.
80 A Band of Ornament in stamped gold.
81 A Gold Bracelet, twisted, the ends terminating in lions' heads.
82 A pair of Gold Ornaments, composed each of two plain lobes and two
ornamented lobes.
83 A Gold Necklet, with circular medallion, ornamentation open-work.
84 A Ring of twisted Gold Wire, the ends terminating in busts of Isis.
85 A Gold Necklace, with circular medallion of Medusa's head.
86 A Gold Ring.
87 A pair of Necklets in gold chain, with circular medallions in open-work.
88 A Gold Figure of Bes.
89 A Gold Necklet, with circular medallion of Medusa's head.
90 A Gold Figure of Eros, holding a cornucopia.
91 A Gold Figure of Maat.
92 A pair of Gold Earrings and pearl pendants.
93 A Gold Scorpion.
94 A pair of Gold Earrings, with gold pendants.
95 A Crystal Stibium Case, ebony stick, mounted in gold.
All in this Tray belong to H. Martyn Kennard, Esq.
128
Tray F.
96 A Bar of Gold.
97 A Scarab, mounted in a ring, rim inlaid.
98 A portion of a Necklet of gold and amethyst beads, four drops in the
shape of shells, three drops of carnelian and lapis lazuli.
99 A PLATE OF GOLD, cloisonne ornamentation, the inlay is missing.
100 A piece of Lapis Lazuli.
101 A Lapis Lazuli Scarab, set in a ring.
102 A Gold Cowrie Shell.
103 A pair of Gold Lions.
104 A Knot of Gold.
105 The square of Gold cloisonne Ornament, with the signs neter, ab and
hetep in the inside, the inlay of lapis lazuli and turquoise.
106 A Lapis Lazuli Scarab, set in a gold ring.
107 A Tat IN Gold, inlaid with turquoise and red carnelian.
108 A Pendant in Gold, inlaid with lapis lazuli and emeralds.
109 Two Strings of Gold and Lapis Lazuli and Turquoise Beads.
The whole of the above are of the Xllth Dynasty.
M Q
110 An Earring, twisted gold, one end terminating in the head of a gazelle.
111 Three Gold Scarabs. Two of the Xlth Dynasty, the centre one of the
XVIIIth Dynasty.
112 A Gold Earring, terminating in a gazelle head, and with beads of pearl
and onyx.
M G
129
113 A Gold Earring.
114 THREE Gold Amulets, the centre representing Bes ; the plumes inlaid with
red carnelian, turquoise and lapis lazuli ; the sides figures of Ta-urt.
115 A Gold Scarab. XVIIIth Dynasty.
116 A Gold Ring, engraved in intaglio, the head of Isis.
117 A NECKLET. Lapis lazuli beads ; the pendants in gold and lapis lazuli.
118 A NECKLACE. Red carnelian beads; the pendants in gold, lapis lazuli and
root emerald.
Nos. iij-iiS belong to Mr. Henry Wallis.
Metchim S*u, London
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